Sound Track: Putting Your Audio on the Right Track

Once upon a time, in a land before computers and editing software, video editors struggled to edit audio. Tracks were limited, and options were slim. Two channels of audio were a luxury. Only the most daring editor would attempt to mix narration, sound effects and music live onto one track. Most video editors focused their creative energy solely on the video; audio was merely a necessity.
Often with virtually unlimited tracks to work with, today's software-based editing programs have revolutionized the way video editors approach the sounds they record and edit. Freed from the restrictive past, the video editor has grown to embrace audio as another tool to use creatively. You could say that audio has finally stepped out of the shadow of video. Today's video editor never had it so good, and the future is looking even brighter.
Because of the flexibility inherent in editing software, audio editing is no longer a chore. It can be as much fun as video editing. And a well-edited soundtrack will certainly enhance the product. So put away the china markers and razorblades and get on track as we explore the joys of audio editing using your nonlinear editor.

Just like any video project, the key to managing multiple tracks of audio on your timeline editing interface is good organization. Remember the five P rule. Proper prior planning prevents problems. Planning starts with your script. Look at it. Is there a voiceover? Sound effects? Music? Can you identify where the audio sources are coming from? Do you know how you are going to input them into your editing program? Answer these questions long before you start to edit.
Just knowing your audio sources isn't quite enough, though. You need to know what sounds to use and when to use them. Sounds simple, right? Maybe not. Let's say your creative piece calls for two actors to be talking until one receives a telephone call. Does the ring start after the actors are through talking, or does it interrupt them? How many times does it ring? The safest solution is to not record the ring at all while the actors are talking. Use another audio track on your timeline to time the ring to the actors' expressions in postproduction. However, if you don't have the sound of the telephone ring independent of your talent, your editing options will be severely limited.
Keep in mind during the planning stage the system you will be editing with. Premiere has up to 99 audio tracks available. Some systems limit their audio layers to eight, four or even just two. The number really doesn't matter, because there are many ways to go beyond these limits, as we'll soon see. But you need to know the rules before you can break them.
Organization extends to clip management. When you're looking at eight layers of audio, it can be hard to determine which one is the sound effect you want to trim. Use the first letters in each clip's name as a classification system. For example, label our telephone ring "SFX Telephone Ring", to identify it as a sound effect. Label any talent audio VO, for voiceover, and so on. Audio locked to video usually shares the same name as the video clip. Be consistent in how you label your clips, and you will speed up your editing.

When editing audio on your NLE the best place to start is at the beginning. Put the audio that is most critical to the piece on track one. If your creating a documentary, most likely your VO would be on this track. If you were editing a music video for your son's garage band, your music soundtrack would go on the first layer. Any audio locked to video will also have priority on this track.
Now as you add new sounds to your piece, simply put them onto another layer. As you start to fine-tune your edit points, you will discover that the audio is easier to maneuver and control when it's on its own track. Your timeline is less cluttered, and the soundtrack is easier to follow visually. Don't let yourself be intimated by the sheer number of layers. If you produce a good video your audience will never know or care how many audio tracks you used.
Of course, just because you have 99 layers of audio doesn't mean you should use 99 different audio sources. The whole point of editing is to trim as much as possible from your raw footage and leave just enough to get the message across. Be as critical with your audio as you are with your video. Every sound on your video should enhance the story. If it doesn't, don't use it.
Once you have the main message of the piece edited, look for places to add polish. This is where working with a nonlinear editor can really make a difference. If there's a long segment between voices, try adding a musical bridge. You can easily remove it if it doesn't work. If you're not certain whether your client wants a male or female voiceover, put them both in your timeline. Most software will allow you to turn individual tracks on or off. Simply alternate between the two voices by switching the tracks off and on.
Timing is critical when editing audio. Make certain that audio locked to video (an on camera interview, for example) stays in sync. A few frames off either way will make your video look like a poorly dubbed foreign film. Use your audio to lead the viewer. Let the audience hear your talent speak before they see him. It generates audience interest and is a very nice effect.