Cut M&E Stems Before You Need a Dub
Keep DX, MX, FX and optional ambience as separate files, with a sync pop, so a later-language dub is a voice swap, not a remix.
9 min read
De-Ess Generated Voices Without a Lisp
TTS and clones hiss in a way live VO does not. A split-band de-esser setup, and when the real fix is a different take or engine rather than more processing.
9 min read
Check Dialogue Intelligibility Before Sign-Off
Pass a speech-to-noise check and a mono phone test before sign-off, and fix masked words with EQ and reverb moves rather than raising the VO.
8 min read
Keep Finishing Audio at 48 kHz
Resample every 44.1 kHz generate on ingest, use a real anti-alias filter, and keep the project at 48 kHz / 24-bit so export does not click.
9 min read
Fold Down Surround Beds Without Losing Center
Generated music parked in 5.1 L/R starves dialogue on stereo TVs. Fold down with center protected and LFE discarded for social and web masters.
7 min read
A Hard-of-Hearing Mix as a Separate Deliverable
An HI mix is not louder voiceover. Dialogue-forward EQ, reduced music, and a stem recipe for shipping HI and VI tracks instead of relying on captions alone.
9 min read
Loudness Targets by Destination, Not One Number
Use published integrated, true-peak, and LRA figures per destination, and keep two masters when YouTube, Netflix, BBC, and podcasts disagree.
9 min read
Mix Notes Mixers Can Actually Execute
Give mixers timecode, stem, direction, amount in dB or Hz, and a reference clip. A one-page template that replaces 'make it cinematic'.
9 min read
A Monitoring Chain a Small Studio Can Trust
Laptop speakers lie about bass and sibilance. Spec a small-room chain: monitors or headphones, a measurement mic, 83 dB pink, and a phone-speaker pass.
9 min read
Mono-Compatibility Checks for Social Mixes
Mid-side generated music can cancel in mono on TVs and some phones. Run a ten-second fold, read a correlation meter, and collapse width without killing the bed.
9 min read
Stereo Fold-Down That Keeps Dialogue
Fold 5.1 and Atmos beds with centre-channel priority, discard the LFE, and check the result on a phone speaker so the words still survive.
9 min read
True-Peak Limiters for AAC Delivery
Catch inter-sample peaks with a true-peak limiter at −1.0 dBTP before AAC, because a brickwall at 0 dBFS still fails QC after the encode.
9 min read
Silence as an edit beat in short form
A held beat with no music or foley resets attention harder than another cut does. Where to place silence in a short-form edit and how long it can run.
9 min read
AI music with a brittle, glassy high end
Generated tracks carry a glassy 4–7 kHz sheen that bites on phones. The band to cut, how much, and why a mix pass beats another prompt.
8 min read
The Editor's Audio Group, Tool by Tool
Sixteen audio jobs live in Versely's editor. Which one to reach for, and the four-pass order that stops you from doing the same work twice.
9 min read
Your ducking pumps instead of breathing
Pumping is a release-time problem, not proof sidechain was wrong. Attack, release and depth settings that hide the duck behind the voice.
9 min read
Your voiceover sounds muddy under AI music
AI music beds crowd the same 250–500Hz band as speech. Carve that range, set a level relationship, and apply them in the right order.
9 min read
Ducking Music Under a Voiceover
The most common audio flaw in AI-assembled video is a music bed that won't get out of the way. What actually fixes it, and the stems escape hatch.
7 min read
Loudness Normalization: Why Your Video Sounds Quiet
One organization publishes an exact, measurable loudness standard. Platforms apply their own and don't document it. Knowing which is which changes how you mix.
7 min read
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