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Chapter 46 Using Audio Filters 645
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 Gain: This filter lets you set how much of the signal you’re attenuating. By default, it’s
set to the maximum –60 dB.
 Harmonics: These options allow you to attenuate additional frequencies that may be
introduced into your signal as a result of the primary cycle hum. These frequencies
are automatically derived by the filter, and you can specify up to five.
Vocal DeEsser
The Vocal DeEsser allows you to attenuate the “ess” sounds produced by an actor with a
“sibilant” voice (that is, someone whose “ess” sounds are very pronounced), or by a
microphone that accentuates high frequencies. This filter is essentially a specialized EQ
that reduces, but does not eliminate, these high frequency “ess” sound components.
Vocal DePopper
The Vocal DePopper lets you attenuate the harsh “P” sounds that result from puffs of
breath bursting into the microphone. Proper miking should prevent this in the first
place, and if you have just one or two pops, you can use keyframes to reduce the level
of the frames with the pop. (See “Example: Setting Subframe Audio Level Keyframes
to Eliminate Clicks” on page 617.)
Still, if you have a clip with a lot of pops, this filter may reduce these to an acceptable level.
Echo and Reverb Filters
Two of the “effects” filters you’ll use most frequently are the Echo and Reverb filters. You
can use Reverb to add the reverberation effects of a particular acoustic space to a
sound that was recorded in isolation. Be careful not to add too much reverb because it
muddies the clarity of the sound (especially dialogue) and, more often than not, it can
sound artificial. When possible, it’s best to rerecord dialogue in the same, or similar,
environment as the original production.
Echo filter settings
Reverb filter settings