Dogu at the mixing console during an audio session

Services

Audio post-production

Clear speech, steady levels and a considered balance of music, instruments and effects. Audio is planned alongside the picture.

Built for

sound that undercuts the picture, comments about the audio, echo you cannot place and lessons lost under the room.

The short version

What you get. Sound that supports the teaching and gives the brand a recognisable character.

Is this for you? For recordings affected by room sound, uneven levels or competing sources. The work goes deeper when an instrument, workshop or kitchen has a sound worth preserving. If one fault is the whole problem, such as a steady hum, noise removal on its own is the closer fit.

What leaves your plate. Audio planning, repair, mixing and finishing alongside the picture, scoped to the recording.

Start with the Free Audit.

Planning, mixing and delivery

A brand can have a recognisable sound: the room around the voice, the music beneath a sentence, the breath left in while someone thinks. One founder is a composer, and that listening shapes the work.

Sound is scoped at the same time as the camera

We discuss sound alongside the camera setup. Microphone placement, the room and the sources recorded affect how much can be achieved later, so advice is most useful before the shoot.

Phase is checked before a single fader moves

Small timing differences between microphones can change the tone when their signals are combined. We check the relationship between sources before balancing a multi-microphone recording.

Instrument and voice, balanced together

A music lesson needs the instrument’s depth and the teacher’s explanation to remain clear. We balance both, keeping the detail that makes the performance worth listening to.

Delivery settings, agreed and recorded

We prepare a separate finish where a destination needs different settings. Compatible destinations can share one carefully prepared master. The delivery specification is agreed and recorded for the partnership.

Written down in advance, per destination

The delivery specification records codec, sample rate, bit rate and level limits. The example settings and their scope are on the mastering page.

The work inside the mix

Stage by stage

Multi-track assembly from the separate microphone sources. Phase correlation across those sources. Frequency build-up managed at the source, before anything gets notched away. EQ chosen per voice and per room. Saturation where a source needs weight it never had. Sidechain compression so music sits under speech instead of arguing with it. Mid-side work where a room deserves to be wide and a voice does not. Then noise, then levels, then a master for each destination that needs one.

The rule of thumb

Recording decisions often give us more options than repair afterwards. We advise before the shoot where possible; when the material already exists, we explain what treatment can improve and what it cannot recover.

At the bench

The work, demonstrated

Try a decision from the craft: drag, tap or toggle, then read the trade-off.

These are illustrative models; no partner’s results are shown.

More demonstrations at the bench →

Audio A/B. One signal drawn twice: as it leaves a single untreated microphone, and after the treatment chain has brought its peaks closer to the rest of the signal. The waveforms illustrate a change; they do not demonstrate sound quality.

One knob. A noise-reduction model with one setting for a recording that holds two passages, a spoken explanation and a played improvisation. A fixed setting can be a poor fit when the material changes.

Unfixable. Eight faults a recording can arrive with, sorted by how far post-production can repair them. Check them before recording and decide whether a new take would be better; where a repair falls short, any compromise is agreed with you before the edit.

4 of 8 are poor candidates for a guaranteed repair.

Background hiss. Repairable. Steady noise can often be reduced; listen for damage to the wanted sound.
A hum from the mains. Repairable. Sits on one frequency and its harmonics.
Slightly soft focus. Repairable. Recoverable to a point, and only to a point.
Colour cast from mixed light. Repairable. Correctable, at the cost of some latitude.
A room with no acoustic treatment. Gone. Reflections overlap the voice. De-reverberation may help, but the result depends on the recording.
Clipped audio. Gone. Clipping loses information. Repair may estimate some damage, but it cannot guarantee the original signal.
Blown highlights. Gone. White is white. No grade invents detail that never reached the sensor.
A performance that was not there. Gone. This is the expensive one, and it is the one nobody budgets for.

Good video production shows the investment. Good audio is quieter work: it holds the voice and the levels, and does its best when nobody notices it at all.

What changes for you

Clearer speech, more consistent levels and a balance that suits the subject. Recording advice also helps reduce avoidable problems on the next shoot. The result still depends on the source material.

Send recent videos. We will listen for the main audio problems and suggest what to address first.

A quick fit check

Request your Free Audit.

Three fields, and a written reading back.

Received. We reply in writing, usually within three working days.

That did not send. Try once more, or write to us instead.

Your audit usually arrives within three working days. We use your details only to reply to your enquiry.

What you will get

✓

What is working, what could improve and whether we can help.

✓

Two or three priorities, with the reason for each.

✓

A recommended next step, even if that step is not us.

There is no obligation to continue. We only arrange a call if you ask for one.

See the audit template·the scoring criteria

The work, written up

The case studies keep their dates, sources and limits visible.

See the casework →