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Vance IngallsandClaude Sonnet 5
5e0cc75115
Chipmunk, Giant, and Monster ship as presets on the pitchshift worklet P1 added: Chipmunk pitches up and adds sparkle, Giant pitches down with weight and a compressor to hold the extra low end together, Monster pitches down further with saturation growl and a close, tight reverb. Every param verified against the live effect registry rather than sketched — the compressor/reverb/saturate/shelf keys all match exactly. Each gets its own title treatment (font, size, tracking, hue) so the FX rack's per-preset styling coverage and hue-distance/background-uniqueness tests extend cleanly to the three new entries, and complaint-line copy in the non-voice vocabulary the audit test enforces (no speech words — "Giant" over CapCut's "Deep Voice", as the design doc records). Updates plans/audio-fx-presets.md's two limits paragraphs to record that pitch shift landed and this half of the character list now ships; Robot and Alien stay out of scope (ring modulation, still unbuilt). Co-authored-by: Claude Sonnet 5 <noreply@anthropic.com>
479 lines
26 KiB
Markdown
479 lines
26 KiB
Markdown
# Audio treatment presets — research and proposed catalog
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Written 2026-08-09. The ask: voice carve turned a pile of effects into one
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understandable feature; what else can, using only the effects already shipped?
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This is a research + design doc. Nothing here is built.
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---
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## 1. The governing precedent
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**`wiki/decisions/vst-studio-integration-cancelled.md`** is the most important
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prior art, and it is a warning. A VST spectral-carve integration was built to
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completion — 4-PR stack, published PyPI host — and then **cancelled**, because
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of its standing costs:
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- a spawned WebSocket sidecar with its own lifecycle
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- an external GPL repo with its own release cadence
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- a non-bundled runtime dependency users had to install
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- VST logic permanently in the render path, hard-failing renders on a missing
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plugin
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Everything proposed here is the **inverse of all four**: preset values are
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data, and the adaptive scripts reuse analysis code that already ships. No new
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process, no new dependency, no new render-path failure mode. A preset that goes
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wrong produces a chain the author can see and edit in the rack — the same chain
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they could have built by hand.
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That is the argument for doing this at all, and the bar any proposal here has
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to keep clearing.
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### What already exists, so this does not duplicate it
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- **`skills/hyperframes-audio`** teaches the effect _families_ and when to
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reach for each ("Reach for a family by the problem, not the name"), and
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documents carve. It contains **no recipes and no named looks** — it explains
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the why, and stops short of the one-click. This catalog is the complement,
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not a rewrite. It also already fixes the canonical order this doc adopts:
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_"corrective filtering goes early, character in the middle, and a limiter
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last."_
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- **`carveBandsToChain()`** already proves the mechanism: an analysis produces
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an ordinary `HfAudioFxChain`, which the rack then owns like any other.
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- **Demand is real and internal.** Cortex carries user asks for
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[audio reprocessing for studio acoustics](https://heygen.slack.com/archives/C0A9ZHLSQFN/p1781063751377189),
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[voice loudness and gain boosting](https://heygen.slack.com/archives/C07BR8QRE4T/p1769062551169729),
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and auto-enhance across scenes. Nobody has built a preset catalog for it.
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---
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## 2. What consumer tools actually ship
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Three distinct tiers, and only two are reachable for us.
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### Tier 1 — ML enhancement (NOT reachable)
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Adobe Podcast Enhance Speech and Descript Studio Sound are **one button** that
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strips background noise, echo and room reverb, and rebuild the voice as if
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recorded in a studio. Adobe's v3 does source separation and exposes a strength
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slider. This is generative ML, not filtering — there is no arrangement of EQ,
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compression or gating that reaches it. Denoising and de-reverberation are the
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single most-requested thing in our own internal feedback, and we cannot do
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them with this effect set. Any catalog that quietly implies otherwise is lying.
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### Tier 2 — intent panels over conventional DSP (the model to copy)
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Premiere Pro's **Essential Sound** panel is the closest analogue to what is
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being asked for, and it is the design worth stealing. The author tags a clip by
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_what it is_ — Dialogue, Music, SFX, Ambience — and then gets a small set of
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outcome-named controls rather than effects:
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- **Loudness**, with an Auto-Match that normalises to a broadcast target
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- **Repair** — Reduce Noise, Reduce Rumble, DeHum, DeEss, Reduce Reverb, each a
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single intensity slider
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- **Clarity**, which boosts the bands that make consonants distinct
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- **Creative**, for reverb/space
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Note the shape: **one noun per problem, one slider per noun, no frequencies on
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screen.** That is exactly what carve does with its strength knob, and it is the
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contract this catalog should hold to.
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### Tier 3 — character effects (fully reachable, and where consumer volume is)
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CapCut ships ~100 voice filters and ~100 "voice characters". The named ones
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that recur across tools: Telephone, Megaphone, Radio/Radio Fuzz, Loudspeaker /
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PA Speaker, Intercom, Lo-Fi, Cassette Tape, Cave, Echo, Broadcast, Retro.
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These are ordinary filter + saturation + bitcrush recipes and we can do all of
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them. **The character half of CapCut's list we cannot do**: Chipmunk, Deep
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Voice, Robot, Alien, Monster, Elf — every one of those is pitch, formant or
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ring modulation, and the registry has no pitch shifter, no time-stretch and no
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ring mod. Out of scope unless a new effect is added. **Update (2026-08-14,
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PR #3276/#3277):** a pitch shifter landed, and Chipmunk, Giant, and Monster now
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ship as presets; Robot and Alien are still out of scope (they need ring
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modulation, which the registry still does not have).
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---
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## 3. What our 15 effects reach
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| Family | Effects | Reaches |
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| --------- | ----------------------------------------------------- | ---------------------------------------------------------- |
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| Filter | `highpass` `lowpass` `peaking` `lowshelf` `highshelf` | tone shaping, band isolation, rumble/mud removal, presence |
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| Dynamics | `gain` `compressor` `limiter` `gate` | levelling, consistency, ceilings, room-tone gating |
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| Nonlinear | `saturate` `bitcrush` | warmth, grit, distortion, digital degradation |
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| Time | `delay` `reverb` `chorus` `phaser` | space, slap, width, wow/flutter, movement |
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Plus two force multipliers the catalog depends on:
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- **Automation lanes** on `gain` and on most effect parameters — so a preset can
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be a _moving_ treatment, not just a static one.
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- **Offline analysis** (`powerSpectrum`, `windowDb`, `analyseCarveDynamics`,
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`analyseCarveDuck`) already runs in the panel over decoded audio. This is what
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makes the adaptive tier possible without new machinery.
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**Hard limits, stated once:** no noise reduction, no de-reverberation, no pitch
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or formant shift, no time-stretch, no spectral repair, no stereo widening
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beyond `chorus`, no true multiband compression (though stacked peaking + a
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`mix`-blended compressor approximates it). **Update (2026-08-14, PR
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#3276):** pitch shift landed as a worklet effect — the "no pitch or formant
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shift" limit above is now half-lifted (pitch, still no formant shift).
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---
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## 4. Two mechanisms, and carve is already the second
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The user's instinct to say "presets/**scripts**" is the right split.
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### Static presets — a chain literal
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Mirrors `HF_COLOR_GRADING_PRESETS` exactly: named, fixed parameter values,
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one click, fully editable afterwards. Suits anything whose right answer does
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not depend on the audio — every character effect, every space, and the
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corrective voice chains at a sensible default.
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### Adaptive scripts — measure, then generate
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The carve pattern: read the decoded samples, measure something, emit a chain
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and/or automation lanes. **The machinery for this is already built and shipped**
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— what carve does with a voice against a bed generalises:
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| Script | Reuses | Emits |
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| ----------------------------------- | -------------------------------------------------- | ----------------------------- |
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| Voice carve _(shipped)_ | `analyseCarveBands` | peaking cuts + per-band lanes |
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| Auto-duck _(shipped, inside carve)_ | `analyseCarveDuck` | one volume lane |
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| De-esser | `analyseCarveDynamics`, re-parameterised (see §5e) | lane on a peaking cut |
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| Leveller | `windowDb` walk | lane on a `gain` node |
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| Tone match | `powerSpectrum` vs a target curve | 3–5 peaking nodes |
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This is the strongest argument in the doc: **none of them needs new DSP** —
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only a different question asked of code that already runs. One (de-ess) needs
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that code re-parameterised for a shorter timescale; the rest reuse it as-is.
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---
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## 5. Proposed catalog
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Every value below is inside the registry's declared range. Node order is the
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canonical one the skill already states: **gate → subtractive EQ → compressor →
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presence EQ → saturation → limiter last.**
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### 5a. Voice (static)
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**`voice-clean` — "Clean Voice"** · the safe default, roughly Premiere's
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Dialogue preset
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```
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highpass frequency 80 q 0.707 poles 2
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peaking frequency 250 gain -3 q 1.2 (mud)
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compressor threshold -20 ratio 3 attack 12 release 180 makeup 3
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peaking frequency 3000 gain +2.5 q 1.0 (presence / consonants)
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limiter limit -1 attack 5 release 50
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```
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**`voice-broadcast` — "Broadcast"** · denser, more forward
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```
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highpass frequency 90 q 0.707 poles 2
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peaking frequency 400 gain -3 q 1.4
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compressor threshold -24 ratio 4 attack 8 release 150 makeup 5
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peaking frequency 2500 gain +3 q 0.9
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highshelf frequency 8000 gain +2 (air)
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saturate type tanh threshold -12 output 0 (glue)
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limiter limit -1 attack 5 release 60
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```
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**`voice-warm` — "Close & Warm"** · intimate, less processed
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```
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highpass frequency 70 q 0.707 poles 2
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lowshelf frequency 180 gain +2
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compressor threshold -18 ratio 2.5 attack 20 release 250 makeup 2
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peaking frequency 3000 gain +1.5 q 0.8
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limiter limit -1.5
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```
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Frequency choices are the documented conventions: high-pass at 60–80 Hz for
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voice, 150–300 Hz is where proximity-effect mud lives, and presence for
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consonant intelligibility sits around 2–4 kHz.
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### 5b. Repair — honestly named (static)
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These are the _reachable half_ of Premiere's Repair section. The names must not
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promise noise removal.
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**`rumble-cut` — "Cut Rumble"** — `highpass` 100 Hz, poles 2. Two stacked nodes
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for 24 dB/oct when a source is badly affected.
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**`room-gate` — "Quiet Between Phrases"** — `gate` threshold −45, range −18,
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ratio 10, attack 2, release 180. **This gates, it does not denoise**: room tone
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still sits under speech, it is only silenced in the gaps. Label it that way in
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the UI or it will be mistaken for Tier 1.
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**`boom-tame` — "Tame Boominess"** — `peaking` 200 Hz, −4 dB, Q 1.4.
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**`harsh-tame` — "Soften Harshness"** — `peaking` 3.2 kHz, −3 dB, Q 1.6. Static
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and broad on purpose; sibilance proper is a script (§5e), not a fixed cut.
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### 5c. Character (static)
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**`telephone` — "Telephone"** · the researched 300–3400 Hz band, steepened
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```
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highpass frequency 300 q 0.707 poles 2 ×2 stacked (24 dB/oct)
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lowpass frequency 3400 q 0.707 poles 2 ×2 stacked
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peaking frequency 1200 gain +6 q 1.2 (the "honk")
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peaking frequency 550 gain -4 q 1.0 (de-mud)
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saturate type tanh threshold -18 output -2 (circuit colour)
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```
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The registry maxes at 12 dB/oct per node (`poles: "2"`), so the classic
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24 dB/oct skirts need **two stacked nodes each**. Worth encoding once here
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rather than having every author rediscover it.
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**`radio-am` — "AM Radio"** — band 400–3000 Hz, `saturate` tanh threshold −15
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output −2, `bitcrush` bits 10 samples 1 mix 0.25.
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**`megaphone` — "Megaphone"** — highpass 500, lowpass 4000, `peaking` 1800 +8
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Q 1.5, `saturate` **hard** threshold −12 output −3, `delay` time 40 ms feedback
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0.15 mix 0.15 (the horn's slap).
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**`lofi-tape` — "Tape"** — `lowpass` 6500, `lowshelf` 120 +2, `bitcrush` bits 12
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samples 2 mix 0.35, `saturate` tanh threshold −14, and **`chorus` delay 6,
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depth 0.6, speed 0.4, mix 0.15** — a slow shallow chorus is exactly how you
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fake wow and flutter, which is a genuinely nice use of an effect we have.
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**`pa-system` — "Tannoy / PA"** — band 350–3500, `peaking` 1500 +5 Q 1.2,
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`saturate` tanh threshold −16, `reverb` size 0.5 damping 0.7 wet 0.25 dry 0.8.
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**`intercom` — "Intercom"** — band 500–3000, `peaking` 2000 +6 Q 2,
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`bitcrush` bits 11 mix 0.3, `gate` threshold −40 range −30 (the squelch).
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### 5d. Space (static)
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**`room-tight`** — `reverb` size 0.25, damping 0.6, wet 0.18, dry 0.9
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**`room-natural`** — size 0.5, damping 0.5, wet 0.25, dry 0.85
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**`hall`** — size 0.9, damping 0.3, wet 0.4, dry 0.75
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**`slap-echo`** — `delay` time 110 ms, feedback 0.12, mix 0.22
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**`dub-throw`** — `delay` time 375 ms, feedback 0.55, mix 0.3
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### 5e. Adaptive scripts
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**`de-ess` — "Soften Sibilance"** — _must be a script, not a preset._ A fixed
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−6 dB at 7 kHz dulls the whole voice; a de-esser only acts when sibilance is
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present. Run the carve pattern against the track's own 5–8 kHz band and emit a
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`peaking` node at the measured centre with a **lane on its gain** that dips only
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during sibilant windows. Sibilance centres around 5–6 kHz for lower voices,
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7–8 kHz for higher — measure it rather than assuming.
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`analyseCarveDynamics` cannot be reused _unchanged_ here, and this is the one
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place in §5e that needs work rather than a new caller. Its hop is
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`max(FRAME, length / POINT_BUDGET)` — 85 ms at best and ~150 ms on a
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real-length track — while sibilants are 50–150 ms events, so at that resolution
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the envelope cannot land on them. Its `ATTACK_S`/`RELEASE_S` ballistics are
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tuned for musical ducking and are far too slow as well. Same machinery, same
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FFT, but it needs a sibilance-scale hop and much faster attack/release.
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**`level-out` — "Even Out Levels"** — walk `windowDb`, emit a lane that lifts
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quiet passages and holds loud ones, against a target range rather than a fixed
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gain.
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**The lane must ride a `gain` node, not the volume lane.** `VOLUME_RANGE` is
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0..1 and `normaliseEnvelope` clamps every keyframe into it, so a volume lane can
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only ever attenuate — it cannot lift anything. A `gain` node spans −60..+12 dB
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and is automatable, which is exactly what the audio skill means when it calls
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`gain` "what an automation lane rides when a track has to move". So this script
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emits both a chain (one `gain` node) and the lane addressing it. **Do not call this LUFS.** `windowDb` is plain RMS; platform
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targets (−14 LUFS for Spotify/YouTube/TikTok/Instagram, −16 for Apple
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Music/podcasts) are ITU-R BS.1770 K-weighted and gated. Either implement the
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K-weighting prefilter — two biquads, entirely feasible offline with the filters
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we have — or name the feature "even out" and cite the targets as context only.
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**`tone-match` — "Match Tone"** — `powerSpectrum` of the track against a target
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curve (a built-in "broadcast voice" curve, or another clip in the project),
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emitting 3–5 corrective `peaking` nodes. This is iZotope's Tonal Balance idea
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at a tenth of the complexity, and `powerSpectrum` already returns exactly the
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data it needs.
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---
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## 5f. Module identity in the rack
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The rack is a 292 px column of stacked modules — which is, near enough, a
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Eurorack case. Worth leaning into: a faceplate recognised by colour and
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lettering before the label is read. Carve already gets a distinct treatment
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(`hf-fx-carve-module`); this generalises it.
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**Direction chosen 2026-08-09: schematic** — picked from four mocked
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alternatives (hardware silkscreen, vintage test equipment, risograph,
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schematic). Recorded with its principles in `.impeccable.md` at the repo root.
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The rack is drawn as the signal path it is: numbered nodes on a dashed spine
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running from an `IN` terminal to an `OUT`, leader-dotted dimension lines,
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three-letter stage tags, family colour restricted to the node ring and the tag.
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**Why it won over the louder options:** it is the only one that _adds
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information_. Chain order is load-bearing — a limiter first and a limiter last
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are different sounds — and nothing in the panel communicated it. It is also the
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quietest, which matters on a surface authors stare at while mixing.
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**What the drawing carries that the current rack cannot say:**
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| Drawn as | Instead of |
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| ------------------------------------------------------------------------------------------------------------ | ------------------------------------------------- |
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| `IN` names the source, `OUT` names the destination and the FX tail | nothing — the tail was invisible |
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| Numbered nodes 01…06 | implicit top-to-bottom order |
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| Bypassed node: ring drawn open, wire beside it solid and unbroken | a row at 50% opacity |
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| Preset nodes gathered under a right-hand brace with its name | no grouping at all |
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| An automated parameter's value reads **live at the playhead** and ticks while the transport runs, marked `~` | the stale seed the lane already replaced |
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| A measuring module gets a second ring | nothing distinguishes carve from a hand-set chain |
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That last pair is the static-versus-script distinction from §4, delivered as
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drawing rather than documentation.
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**Automated parameters show numbers, not shapes.** An earlier pass drew each
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lane's envelope inside the module; that was dropped. The lane already has a home
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in the timeline, and a second small drawing of it in the rack is decoration —
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what the rack is missing is the _current_ value. The panel already receives it:
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`FxSectionProps.liveAutomationValues` exists precisely because "an automated
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parameter's stored number is only the seed the lane replaced, so a rack that
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shows it stands still while the carve is audibly working". So the row is an
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ordinary parameter row whose number is live, `~` on the label saying it is
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driven rather than set, and the marker moving with it. Stopped, the values go
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grey and hold at the playhead.
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**The preset menu preview is the chain** — each row previews the nodes it will
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draw as small connected rings in their family colours, so the shape you pick is
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the shape you get. Smart entries read `MEASURES` instead.
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**The empty state keeps the wire.** `IN` and `OUT` remain, connected, with "no
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effects, signal passes straight through" between them — which teaches that the
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rack is a path before the author has added anything to it.
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**Not carried over from the first pass:** the 3 px coloured rail down each
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module's left edge. It is the most overused device in dashboard UI, and
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forcing each direction to find another answer is what separated them.
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**Family hues**, chosen to sit on `#0C0C0E` without competing with the studio's
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`#3CE6AC` accent:
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| Family | Hue | Why |
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| --------- | --------- | -------------------------------------------------------------------- |
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| Filter | `#4FA8FF` | the measuring family |
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| Dynamics | `#FFB443` | grips the signal |
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| Nonlinear | `#FF6B5C` | the only generative family |
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| Time | `#B98CFF` | atmosphere, not control |
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| Smart | `#3CE6AC` | the studio's own accent — reserved for modules that act on their own |
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**This needs almost no new plumbing.** `group` is already on every effect in the
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registry, so hue and lettering are derived, not hand-assigned. And every module
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already renders `data-fx-node="<type>"`, so the whole identity layer is CSS on
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an attribute that exists today. Only "Smart" is new, and carve already lives
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there in spirit.
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**Type budget is the real decision.** Fonts must be self-hosted (no CDN).
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Recommended: **two faces** — the UI sans plus one characterful display face
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split across families. One face is too subtle at 11 px; five is a bundle cost
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and starts reading as a collage on a surface authors stare at while mixing.
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**Preset menu**: grouped by the same families, so the colour picked in the menu
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is the colour that appears in the rack. Each row carries the number of modules
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it drops in — which quietly teaches that a preset _is_ a chain. Smart entries
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say "measures" instead of a count, which is the entire static-vs-adaptive
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distinction delivered in one word.
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Open decisions: whether applying a preset appends or replaces (suggest append,
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replace on modifier, re-apply swapping its own `fromPreset` nodes); the type
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budget above; and whether character presets get drawn glyphs on their plates —
|
||
the biggest step toward "fun", and the only part needing artwork rather than
|
||
CSS.
|
||
|
||
Mockup at the real panel width: published as an artifact, 2026-08-09.
|
||
|
||
## 6. Architecture
|
||
|
||
Mirror colour grading, because the author already understands that surface.
|
||
|
||
```ts
|
||
export interface HfAudioFxPreset {
|
||
id: string; // "telephone"
|
||
label: string; // "Telephone"
|
||
family: "voice" | "repair" | "character" | "space";
|
||
description: string; // one line, in the author's language
|
||
chain: HfAudioFxChain; // an ordinary chain — nothing special
|
||
automation?: HfAutomation; // for presets that move
|
||
}
|
||
```
|
||
|
||
Four notes:
|
||
|
||
1. **A preset is just a chain.** Applying one writes `data-fx-chain` exactly as
|
||
hand-building would. It is inspectable, editable and undoable, and it cannot
|
||
introduce a failure mode the rack does not already have.
|
||
2. **Tag the nodes.** `HfAudioFxNode` already carries `fromCarve`; an analogous
|
||
`fromPreset: "telephone"` lets the panel show "Telephone (edited)" and lets a
|
||
re-apply replace its own nodes without touching hand-added ones.
|
||
3. **Fixed values in v1, no intensity knob.** Colour grading's presets are
|
||
fixed; carve earned its strength knob by being adaptive. Most effects carry a
|
||
`mix` parameter, which is the natural hook if intensity is wanted later —
|
||
note it, don't build it.
|
||
4. **Scripts need a separate registry** with an `analyse(samples, sampleRate) →
|
||
{ chain, automation }` contract, because they cannot be static data. Carve is
|
||
the reference implementation.
|
||
|
||
### Two things that will otherwise be filed as bugs
|
||
|
||
- **Boost presets must end in a limiter.** `voice-broadcast` adds presence and
|
||
+5 dB makeup; without its limiter it will overshoot full scale. The
|
||
clip-before-duck fix (`55f852a72`) makes that survivable, but the measured
|
||
damage still scales with overshoot — 2.7× peak destroys 19% of samples. A
|
||
preset that ships hot is a bad preset regardless of what the render does
|
||
about it.
|
||
- **Worklet-backed presets play dry for a moment in preview.** Anything
|
||
containing `compressor`, `limiter`, `gate` or `bitcrush` waits for
|
||
`ensureAudioFxWorklets` before it can be built — so nearly every voice preset
|
||
is momentarily dry on first apply, then swaps in. Expected, not a defect.
|
||
|
||
---
|
||
|
||
## 7. What to build first
|
||
|
||
1. **Character presets** (§5c) — highest ratio of delight to risk. Pure
|
||
filter/saturation data, instantly recognisable, nothing to measure, and the
|
||
category consumer tools get the most use out of.
|
||
2. **Voice presets** (§5a/b) — the practical value, and the answer to the
|
||
internal asks already in cortex.
|
||
3. **`level-out`** — the most-wanted adaptive one, and the smallest script.
|
||
4. **`de-ess`**, then **`tone-match`** — both reuse carve's analysis directly.
|
||
|
||
Deliberately not proposed: anything requiring a new effect. If pitch shifting
|
||
ever lands, the whole character half of CapCut's list opens up at once — but
|
||
that is a new DSP conversation, and this doc is explicitly the one that does not
|
||
need one.
|
||
|
||
### If this ships
|
||
|
||
`CLAUDE.md`'s skill-catalog rules apply: a preset catalog changes what
|
||
`/hyperframes-audio` covers, so the skill's `description:` and the surfaces
|
||
listed under "Skill catalog maintenance" have to move in lockstep.
|
||
|
||
---
|
||
|
||
## Sources
|
||
|
||
Internal: `wiki/decisions/vst-studio-integration-cancelled.md`;
|
||
`skills/hyperframes-audio/SKILL.md`; `packages/core/src/audioFx.ts` (ranges);
|
||
`packages/core/src/audioCarve.ts` (the script pattern);
|
||
`packages/core/src/colorGrading.ts` (the preset pattern). Cortex:
|
||
[studio acoustics reprocessing](https://heygen.slack.com/archives/C0A9ZHLSQFN/p1781063751377189),
|
||
[voice loudness and gain boosting](https://heygen.slack.com/archives/C07BR8QRE4T/p1769062551169729).
|
||
|
||
External:
|
||
|
||
- [Adobe Podcast Enhance Speech guide](https://thepodcastconsultant.com/blog/adobe-podcast-enhance) and [Adobe vs Descript shootout](https://thepodcasthaven.com/adobe-speech-enhancement-vs-descript-studio-sound-a-shootout/) — Tier 1 boundary
|
||
- [Premiere Pro Essential Sound panel guide](https://josephnilo.com/blog/the-ultimate-guide-to-the-premiere-pro-essential-sound-panel/) and [Envato's dialogue walkthrough](https://photography.tutsplus.com/articles/how-to-use-the-essential-sound-panel-to-edit-dialogue-in-premiere-pro--cms-41936) — the intent-panel model
|
||
- [Rode's podcast processing guide](https://rode.com/en-us/about/news-info/a-guide-to-audio-processing-and-fx-for-podcasting), [Podigy on podcast EQ](https://www.podigy.co/podcasters-eq) and [iZotope on de-essing](https://www.izotope.com/en/learn/the-dos-and-donts-of-de-essing.html) — voice chain values and sibilance ranges
|
||
- [CapCut voice filters](https://www.capcut.com/tools/voice-filters) and [its full effect list](<https://irda27987s-random-pages.fandom.com/wiki/All_Voice_Filters_and_Voice_Characters_in_App!_(Capcut)>) — Tier 3 vocabulary
|
||
- [Telephone effect settings](https://voxbooster.com/blog/telephone-voice-effect-online/) and [Audiotent's walkthrough](https://www.audiotent.com/blogs/production-tips/create-telephone-vocal-effect) — the 300–3400 Hz band and its refinements
|
||
- [LUFS targets per platform 2026](https://www.forasoft.com/learn/audio-for-video/articles-audio/lufs-targets-per-platform-2026) and [podcast loudness standards](https://sone.app/blog/podcast-loudness-standards-2026-spotify-apple-youtube) — why `level-out` must not claim LUFS
|