I can't hear you speaking, laptop and YT at max volume. Get the mic as close as you can to your mouth. It can be on camera these days. Dynamic mics (mics that don't require power) really need to be close to your mouth. Condenser mics are more sensitive, so can be further away from your mouth, but the downside to all of that sensitivity is an over abundance of nasty sounding splash room reverb, which will sound cheap, and make your words less intelligible, and given your accent, that will do you no favors. You may need a microphone preamp to boost the volume out of your mic. Okay, so that is on the recording side. After you've recorded, you can boost the volume just by adding gain, but I'd recommend using software plugins/functions in this order: Equalizer then a Compressor then a Limiter. With the EQ you can remove frequencies you don't need at all, like subbass which is less than sat 60hz, you can remove some bass, say 60-120hz, can cut some muddy low mids, like anywhere between 225hz to 400hz, and you can just sweep around with a fully parametric eq band with a somewhat tight Q to find some really resonant frequencies that are annoying to you (I didn't hear any, though I didn't really hear much more than a light murmuring in this video). I'd recommend eq cuts but not boosts. Then with the compressor, or maybe two compressors, the first set with a very fast, or the maximum fastness, a ratio of 4:1 in gain reduction, with only 2-3db gain reduction. This comp can have a relatively fast release as well, but you'll really have to dial it by ear. The point of this compressor is to catch and reduce just wild and fast peaks in the audio, which naturally occur when recording voice, and especially with a close mic. The second compressor you can set more slowly, so something around a medium attack, fastish to medium release, with a threshold producing as much gain reduction as you can stand, maybe peaking around 8db of gain reduction, maybe more, maybe much more depending on the mic, the signal, the preamp, the eqing, and how well that first compressor is catching peaks. That first compressor doesn't need to totally fatten those peaks, just reduce the signal a bit so the second compressor doesn't have to work so hard, being triggered by every peak. Both compressors you should set by ear, ultimately. One compressor's fast can be another's medium, or even slow. And the amount of compression, or gain reduction (compressing the dynamic range of the signal, so making lows louder, and highs quieter, then moving the whole signal up in volume so everything is more audible, understandable. And that is where the limiter comes in. A limiter is just essentially a really, really fast compressor, but it is used bring up the overall volume of everything, knock off about 4 to 5 db of peaks, but in a transparent way. You may not be able to or need to adjust attack or release on your limiter. Most are or can be fairly limited in those controls. Just make sure that your audio is about -1dbfs, or 1 decibel below digital max volume, aka 0dbfs. Usually with a limiter, you set the output, or ceiling to your desired volume target, in this case, -1dbfs, then you push the input up into the brickwall ceiling, until you're lopping off as much as you like, but for most limiters, that can safely be 4 to 5dbs of gain reduction. You can do all of this in software, with vst plugins, entirely for free. Your video editor likely can use vst (virtual studio technology) plugins to shape your audio to get it loud enough to hear, crisp enough to understand, all without unwanted tones, like reducing excessive bass (and subbass), which is also enhanced by close micing, aka the proximity effect, btw. Still, despite all the negative I've revealed about close micing, it is the way to go. You don't notice, but many actors have mini lavilier mic's in their hair, beard, under their collar, whatever the sound guy can do to get a mic as close to their mouth and not be seen. Okay, I say all that with you and your channel's benefit in mind. This basic formula took me well over $25,000 and 10 years to figure out, in a time before you could just learn anything and everything on the internet from kind strangers who share knowledge and technique. So for you, I'm only charging a low, low one time price of $2,500. Thanks! Oh, and anything, like a concept, the name of a device, audio engineering terms, etc. can be easily discovered through a quick google search, so if you didn't catch something I was saying because you don't know some of the lingo (I tried not to use, but, really is unavoidabl) I used, just google it. I guarantee there are more words written about each and every term, name, etc. that I've used than you could possibly read in the remaining portion of your lifetime. So have at it, make your videos watchable, by making them hearable! It IS the secret sauce to a video channel's success. God Bless.
Bargains indeed! I love the Callaghan saw.
@@troon5488 Yes that wee saw is remarkable for its age.
I can't hear you speaking, laptop and YT at max volume. Get the mic as close as you can to your mouth. It can be on camera these days. Dynamic mics (mics that don't require power) really need to be close to your mouth. Condenser mics are more sensitive, so can be further away from your mouth, but the downside to all of that sensitivity is an over abundance of nasty sounding splash room reverb, which will sound cheap, and make your words less intelligible, and given your accent, that will do you no favors. You may need a microphone preamp to boost the volume out of your mic.
Okay, so that is on the recording side. After you've recorded, you can boost the volume just by adding gain, but I'd recommend using software plugins/functions in this order: Equalizer then a Compressor then a Limiter. With the EQ you can remove frequencies you don't need at all, like subbass which is less than sat 60hz, you can remove some bass, say 60-120hz, can cut some muddy low mids, like anywhere between 225hz to 400hz, and you can just sweep around with a fully parametric eq band with a somewhat tight Q to find some really resonant frequencies that are annoying to you (I didn't hear any, though I didn't really hear much more than a light murmuring in this video). I'd recommend eq cuts but not boosts.
Then with the compressor, or maybe two compressors, the first set with a very fast, or the maximum fastness, a ratio of 4:1 in gain reduction, with only 2-3db gain reduction. This comp can have a relatively fast release as well, but you'll really have to dial it by ear. The point of this compressor is to catch and reduce just wild and fast peaks in the audio, which naturally occur when recording voice, and especially with a close mic. The second compressor you can set more slowly, so something around a medium attack, fastish to medium release, with a threshold producing as much gain reduction as you can stand, maybe peaking around 8db of gain reduction, maybe more, maybe much more depending on the mic, the signal, the preamp, the eqing, and how well that first compressor is catching peaks. That first compressor doesn't need to totally fatten those peaks, just reduce the signal a bit so the second compressor doesn't have to work so hard, being triggered by every peak. Both compressors you should set by ear, ultimately. One compressor's fast can be another's medium, or even slow. And the amount of compression, or gain reduction (compressing the dynamic range of the signal, so making lows louder, and highs quieter, then moving the whole signal up in volume so everything is more audible, understandable.
And that is where the limiter comes in. A limiter is just essentially a really, really fast compressor, but it is used bring up the overall volume of everything, knock off about 4 to 5 db of peaks, but in a transparent way. You may not be able to or need to adjust attack or release on your limiter. Most are or can be fairly limited in those controls. Just make sure that your audio is about -1dbfs, or 1 decibel below digital max volume, aka 0dbfs. Usually with a limiter, you set the output, or ceiling to your desired volume target, in this case, -1dbfs, then you push the input up into the brickwall ceiling, until you're lopping off as much as you like, but for most limiters, that can safely be 4 to 5dbs of gain reduction.
You can do all of this in software, with vst plugins, entirely for free. Your video editor likely can use vst (virtual studio technology) plugins to shape your audio to get it loud enough to hear, crisp enough to understand, all without unwanted tones, like reducing excessive bass (and subbass), which is also enhanced by close micing, aka the proximity effect, btw. Still, despite all the negative I've revealed about close micing, it is the way to go. You don't notice, but many actors have mini lavilier mic's in their hair, beard, under their collar, whatever the sound guy can do to get a mic as close to their mouth and not be seen.
Okay, I say all that with you and your channel's benefit in mind. This basic formula took me well over $25,000 and 10 years to figure out, in a time before you could just learn anything and everything on the internet from kind strangers who share knowledge and technique. So for you, I'm only charging a low, low one time price of $2,500. Thanks!
Oh, and anything, like a concept, the name of a device, audio engineering terms, etc. can be easily discovered through a quick google search, so if you didn't catch something I was saying because you don't know some of the lingo (I tried not to use, but, really is unavoidabl) I used, just google it. I guarantee there are more words written about each and every term, name, etc. that I've used than you could possibly read in the remaining portion of your lifetime. So have at it, make your videos watchable, by making them hearable! It IS the secret sauce to a video channel's success. God Bless.
@@alphanumeric1529 Cheers I'm working on it.