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Vance Ingalls
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* docs(audio): document the audio effects system The effects feature had no documentation at all — the only mentions anywhere in docs/ were changelog entries. This adds the three pages the color-grading feature already has, one per audience, and closes a gap in the existing audio guide. - prompting/audio-effects — a new Level 5 chapter on asking for a mix in symptoms rather than in filters, with the voiceover carve as the headline, the level-before-depth check, groups, and the three requests that have no honest answer (de-essing, noise removal, tone matching). - studio/audio-effects — the rack, presets by symptom, the carve module, groups, the deliberately asymmetric mute/solo, automation lanes, and troubleshooting. - reference/audio-effects — the contract: all four attributes, every effect and parameter range, why some parameters cannot be automated, the 19 presets, the five jobs and five one-knob profiles, carve semantics, the group model, the render bus, preview/render parity, and the three lint rules. Also points the existing "duck music under important speech" advice in guides/voice-and-audio at the carve, which does that properly and was never named there. Facts verified against source rather than the shipped skill prose: the panel section is "Audio FX" (the neighbouring "Effects" section is visual effects, and an earlier draft of this page named the wrong one), MAX_AUTOMATION_POINTS is 512, fromPreset carries a preset id rather than a boolean, the leveller targets the track's own 80th percentile, group mute reaches the render while solo never leaves Studio, and the CLI carve currently writes clip ids. No screenshots in this pass, and no placeholders for them either — the pages carry concrete markup and tables instead. Screenshots of the rack, the carve module, and a group row would each earn their place later. mint validate and mint broken-links both pass. * docs(audio): give audio its own Studio group, split by task Review feedback: the audio page did not belong in Studio / Edit. That group is already one task per page — canvas, timeline, animation, captions — and a single page covering the rack, the carve, groups, and automation lanes was four tasks bundled together and dropped in beside them. Studio now has an Audio group holding four task pages: - Effects and presets — the rack, presets by symptom, adding single effects in a working order, the one-knob controls, Even Out Levels - Voiceover carve — its own page, because it is the feature people come for - Groups, mute, and solo — including why mute reaches the export and solo cannot - Automation lanes — drawing envelopes, the shape menu, and which parameters cannot move at all Not a new top-level tab: the tabs here are audience-scoped (Guides, Studio, Catalog, Developers), so a feature tab would be the only one of its kind and would strand the prompting chapter out of its Level 5 sequence and the reference page out of Developers. Repointed the deep link in guides/voice-and-audio at the carve's own page. Lane interactions verified in source before documenting: the right-click menu offers Ramp up, Ramp down, Swell, Dip, and Simplify (which needs three points). Deliberately not documented: "clicking a lane label reveals it in the rack", which is not on main. mint validate and mint broken-links both pass. * docs(audio): fix the four review blockers All four verified in source before fixing; the review was right on every count. **The registry was incomplete.** `pitchshift` ships at `audioFx.ts:509-535` (`semitones` −12–12, `mix` 0–1, worklet-backed so neither automatable) and was missing entirely — sixteen effects, not fifteen. It also joins the worklet list, so five effects expose no automatable parameters rather than four. **Three presets were missing.** `chipmunk`, `giant`, and `monster` ship at `audioFxPresets.ts:336-357`, all built on `pitchshift`. Twenty-two presets, and Character holds ten. Fixed in both the reference table and the Studio list. **The copyable markup contradicted the warning above it.** The page said `carve.mjs` only finds double-quoted attributes and then gave three single-quoted examples — copying the chain example would make a later carve miss the existing chain and overwrite it. All three are now double-quoted with `"`, each followed by its unescaped reading so it stays legible. **The attribute table over-claimed.** `data-audio-group` is a plain id, not JSON, and is ignored on `<video>`; the other three also live on `<hf-audio-group>` for a group. The table now carries shape and valid host per attribute. **The automation contract was wrong on two axes.** A clip lane's `t` is clip-relative but a GROUP lane's is composition time, because a group has no `data-start` (`webAudioTransport.ts:337-342`, `audioMixer.ts:1311-1344`) — both pages now split the two clocks. And `volume` is not 0–1: the ceiling is `MAX_AUDIO_GAIN`, +12 dB or about 3.981 (`audioGain.ts:8-9`), so a boosting lane is valid and documented. **Current-main drift.** #3416 is merged, so the CLI now records the voices' shared group when it is safe and falls back to clip ids when that group contains the bed or a music/SFX member. Documented, including why neither refusal shows up on the run that writes it, and rebased onto main. mint validate and mint broken-links both pass. * docs(audio): name the real add-menu family, and finish propagating pitchshift Second review round. All three findings were my own incomplete propagation — I corrected the reference for `pitchshift` last round and left the reader-facing pages behind it. **The add-menu family is `Time`, not `Space`.** `propertyPanelFxAddMenu.tsx:22-28` labels the four groups Filters / Dynamics / Non-linear / Time, and the time group holds pitchshift, delay, chorus, phaser, and reverb. The Studio page sent readers looking for a group that does not exist. It is now a table naming the family and its contents, and the reference's "Time — space and width" heading is retitled, since that description stopped covering the family the moment pitch shift joined it. Also from the same file: the menu offers the named jobs in place of a bare `peaking`, because picking `peaking` is picking a machine and leaving the real decision — which range — for afterwards. Worth saying on the task page. **Pitch shift was missing from both no-automation lists** that a reader actually follows — `studio/audio-automation` and, unflagged but the same defect, the prompting chapter. Five worklet effects in all four places now. Called out explicitly on the Studio page, because a rising pitch is exactly the thing someone reaches for a lane to do, and the lane will not report that it cannot. **Narrowed the group-metadata sentence.** "The other three are JSON, and on a group they live on `<hf-audio-group>`" swept in `data-fx-carve`, contradicting the table directly above it. Only `data-fx-chain` and `data-automation` are group metadata. mint validate and mint broken-links both pass.
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169 lines
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Plaintext
---
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title: "Mix audio and apply effects"
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sidebarTitle: "Effects and presets"
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description: "Open a track's effect rack, fix a voice with one preset, and add individual effects in an order that works."
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---
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Studio carries a full mixer. Every audio track has an effect rack: filters that
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decide which frequencies it may occupy, dynamics that decide how its level
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behaves, character effects that change the shape of the waveform, and space
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effects that put it somewhere.
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Everything you do here is written into the composition's HTML. There is no
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separate session file, so a mix survives being handed to someone else, committed,
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or rendered on another machine.
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## Open a track's effect rack
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Select an audio clip on the timeline. The right panel shows an **Audio FX**
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section for it, listing the chain from top to bottom in signal order and ending
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in **Out to mix**. An empty track reads "No effects on this track."
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Do not confuse it with the **Effects** section on the same panel — that one is
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visual effects for pictures, and has nothing to do with sound.
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You can also reach it without the panel: the **FX** button on an audio track's
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timeline header opens a shelf of presets, with **Open rack ›** at the bottom. The
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button shows a count when the track already has effects.
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## Fix a voice with one preset
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Presets are the fastest honest answer to "this voice sounds wrong". Each one is
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an ordinary chain you could have built by hand — open it and the individual
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effects are all showing.
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Start from the symptom rather than the effect list:
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| It sounds like | Reach for |
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| --- | --- |
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| Hum or thump underneath | `rumble-cut`, or a high-pass at 80 Hz |
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| Boomy, chesty, too close to the mic | **Tame Boominess** |
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| Muffled, like it is behind cardboard | **Reduce Mud** |
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| Words hard to make out | **Add Clarity**, or [carve the music](/studio/voiceover-carve) |
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| Harsh and tiring over a whole listen | **Soften Harshness** |
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| Some words much louder than others | **Evenness** on a compressor, or **Even Out Levels** |
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| Room tone audible between sentences | `room-gate` |
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| Voice and music fighting each other | [A carve on the music](/studio/voiceover-carve) — not an EQ on either |
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| Dry, recorded nowhere | `room-tight` or `room-natural` |
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| Just "amateur" | `voice-clean` |
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`voice-clean` is the default answer to "fix this voiceover": it removes rumble,
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reduces mud, evens the level, adds clarity, and ends in a peak ceiling.
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`voice-broadcast` is the same idea denser and more forward; `voice-warm` adds
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body instead of cutting it.
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Applying a preset **appends** to the chain, so cleaning a voice and then adding
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character is a real thing to do. Re-applying the same preset replaces its own
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nodes where they already sit.
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Every named job also ships inside a preset at identical settings, so check what a
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preset already contains before adding a job on top of it — `voice-clean` plus a
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Reduce Mud job is −6 dB at 250 Hz where −3 was meant. Expanding the preset in the
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rack shows its nodes by name, which is the fastest way to see it.
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Beyond the corrective families there are **Character** presets — `telephone`,
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`radio-am`, `megaphone`, `lofi-tape`, `pa-system`, `intercom`, `doofus-worble`,
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`chipmunk`, `giant`, `monster` — and **Space** presets — `room-tight`, `room-natural`, `hall`, `slap-echo`,
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`dub-throw`. Character presets are costumes rather than corrections, and they are
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tuned to be distinguishable from one another, so do not stack two. `chipmunk`,
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`giant`, and `monster` shift pitch, so they change who is speaking rather than
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what they are speaking through.
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## Add a single effect
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Use **+ effect** in the rack. The menu groups effects the way you would reach for
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them, in four families:
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| Family | Decides |
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| --- | --- |
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| **Filters** | Which frequencies the track may occupy |
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| **Dynamics** | How its level behaves over time |
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| **Non-linear** | The shape of the waveform — character and grit |
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| **Time** | Where it sits and how it moves: delay, reverb, chorus, phaser, and pitch shift |
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The menu offers the [named jobs](#fix-a-voice-with-one-preset) in place of a bare
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`peaking` filter, because picking `peaking` is picking a machine and leaving the
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real decision — which frequency range — for afterwards.
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Order matters, because each effect processes what the one before produced. Work in
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this order and each step hears a cleaner signal than it otherwise would:
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1. **Subtract before you add.** Cut rumble and mud first. A voice that sounds dull
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often has too much low-mid rather than too little top.
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2. **Level after you filter.** A compressor reacts to whatever is loudest, and a
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rumble it can no longer see is a rumble it stops chasing.
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3. **Relationships after level.** Carve the music once the voice itself is
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settled.
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4. **Character, then ceiling.** Saturation and space go late; a limiter goes last,
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where it can actually act as a ceiling. Anything after it is not bounded by it.
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Rename any node so the rack says what it is doing. Two `peaking` rows otherwise
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look identical and you cannot tell the mud cut from the clarity lift.
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Bypass a node instead of deleting it while you are deciding — it stays in the
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chain, out of the signal path, so you can compare without losing the settings.
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## Use the one-knob controls
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Five effects have no single parameter that could honestly be their face — a
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compressor's threshold means nothing without its ratio. Those show one derived
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knob instead:
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| Effect | Knob | 0 → 1 |
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| --- | --- | --- |
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| Compressor | **Evenness** | Barely touched → very even, quite squashed |
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| Gate | **Tightness** | Only true silence → cuts quiet words too |
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| Saturation | **Warmth** | Just a sheen → openly distorted |
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| Reverb | **Space** | A small tight room → a big open hall |
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| Bitcrush | **Crush** | Slightly gritty → destroyed |
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Evenness, Warmth, and Space are level-matched: the make-up gain, output trim, and
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dry leg move with the drive, so turning the knob up does not also turn the track
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up. Tightness and Crush are not, because neither has a trim to move.
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Editing a parameter underneath one of these knobs is allowed and simply moves the
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knob — the chain stores the mechanism, not the knob position.
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## Even out a drifting take
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**Even Out Levels** measures the track's own speaking passages and writes a gain
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envelope. Its target is that track's own 80th percentile rather than an absolute
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level, so an already-even track is left alone. Use it when passages drift over a
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whole take; use a compressor's **Evenness** when the problem is word-to-word
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dynamics. **Remove levelling** takes it back off.
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## What should happen
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- Preview is what the render will sound like: both build the same graph from the
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same attributes.
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- A chain Studio cannot read plays **dry** in preview so the composition stays
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workable — but it **fails the render** rather than shipping a track that sounds
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plausible and is wrong. If preview sounds unprocessed, suspect the chain.
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- Reverb and delay make a track **longer** than its source. A bed with reverb no
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longer ends exactly at its clip length; that is expected.
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## Common problems
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**Nothing sounds different.** Check the node is not bypassed, then check you are
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looking at **Audio FX** rather than the visual **Effects** section.
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**The voice got louder as well as cleaner.** A preset ending in a peak ceiling
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raises perceived loudness. Trim the track's own level rather than removing the
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ceiling.
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**A cut landed twice.** A preset already contained the job you added on top.
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Expand the preset and read its nodes by name.
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**It sounds worse after adding top end.** A muddy voice needs the low-mid cut
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first; lifting the top of a muddy voice makes it muddy *and* harsh.
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**There is hiss under the words.** Nothing here removes it. A gate closes the gaps
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between phrases and leaves the noise beneath speech untouched — a source with
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audible hiss needs a better source.
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## Related topics
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- [Make music sit under narration](/studio/voiceover-carve)
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- [Automate a parameter over time](/studio/audio-automation)
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- [Audio effects implementation](/reference/audio-effects)
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