Toby Lyles of 24 Sound
Toby Lyles is a self-proclaimed “sound guy” (we would tend to agree with him) who has three children and a beautiful wife. Toby lives in Colorado and he produces podcasts all day long. Podcasting fell on Toby by accident. He was in live production and it was a very demanding schedule. He started a family and he had to make a change. He was listening to podcasts and one of his friends Any Traub, was interviewing a guest and Toby couldn’t hear an important part of the interview because the sound was interrupting the audio message. Toby contacted him and made a simple suggestion to help his audio sound better. He found a knack for helping people with their sound and that’s what led him to living in the sound world.
Here’s a quick video of Toby talking about his company and what he does. Toby works with some of the top names in the podcast industry like Brad Crabtree, Mary DeMuth, Scott Meyer, Pat Flynn, Andy Traub and Carey Nieuwhof among others.
Toby Talks About Compression and Match Volume
The reason why compression comes into the picture with audio is because when we listen to people we hear them on an even level. However, when you start getting into the digital space of audio, things can sound really quiet or really loud. Compression can take the loudest parts, which is volume, and turns down these loud parts so that the sound comes across in a more even way.
Match volume actually goes on a loudness standard. You can set it on -23 LUFS to take the entire clip to bring it up to a loudness standard. It’s sounds a little crazy that loud is different than loudness, but compression is different from match volume. When Toby goes through a podcast, he will listen to the show and listen with the “loudness radar”. Toby likes to aim for -16 LUFS on each side of the conversation. Once the speech part is level, he then integrates the sound bytes and music.
Quick Walkthrough of What Toby Does with His Audio Editing
- Make a stereo track – The host will be on the left hand side of the track and the guest will be on the right side of the track.
- Once he has the stereo file, he drops it into Adobe Audition and opens it in the “Waveform” view. The Waveform view is what you call “destructive editing” and so the changes you make to the file here affect the actual file that he drops into Audition.
- Toby then runs effects on each side. He uses an EQ, compressor, and Waves vocal rider. (The vocal rider helps when people use too much compression).
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