davinci-resolve-audio-cleanup-podcast

name	davinci-resolve-audio-cleanup-podcast
description	Use when a user has podcast, interview, or talking-head audio that needs cleanup — denoise, de-hum, level dialogue, and duck music under voice. Triggering symptoms include phrases like "podcast audio is noisy", "background hum in interview", "music too loud under voice", "level out my voiceover", "fix my podcast", or any DaVinci Resolve Fairlight audio cleanup question.

DaVinci Resolve — clean podcast and interview audio

Overview

The four-step podcast audio cleanup chain: EQ out rumble -> kill any hum -> denoise -> level -> duck music. Done in this order. The principle: address frequency problems before dynamic problems. EQ is surgical; noise reduction is destructive. Use the surgical tool first so the destructive tool has less to do.

When to use

Symptoms:

• Recording has background hum (electrical 50/60 Hz interference)
• Air conditioning, refrigerator, or traffic noise floor under dialogue
• Voice levels vary from clip to clip (loud intros, quiet thoughtful moments)
• Music score drowns out the host when they start talking
• Sibilance ("ess" sounds) too harsh

When NOT to use:

• Multi-mic interview where you need to gate each mic separately — that needs the Track-level Dynamics workflow per mic (Fairlight Audio Post pp. 373-375).
• Audio is destroyed (clipped, severe wind noise, water damage) — there is a limit to what cleanup can do. Re-record if possible.
• You need surround/Atmos mixing — different chapter (Fairlight Audio Post pp. 643+).

Quick reference — the cleanup chain in order

Phase -1 — source audit before cleanup

Before applying effects, audit every candidate audio source. Do not assume the named lav/boom file is best. Check:

• duration matches picture
• silence percentage
• integrated LUFS
• true peak
• clipping risk
• audible room tone/hum
• whether the track is actually silent

For multi-camera workshop folders, keep the selected dialogue on A1, the processed dialogue on A2, music/ambience on A3, and SFX/bumpers on A4. If the external mic peaks near 0 dBFS, preserve it as source but create a processed duplicate with conservative limiting/leveling before delivery.

Step	Tool	When to use	Where
1. EQ rumble	Clip EQ (Inspector > Equalizer)	Always — every dialogue clip has sub-100Hz garbage	Inspector panel, audio clip selected
2. De-Hummer	Fairlight FX > De-Hummer	Power line buzz (50 Hz Europe, 60 Hz US)	Drag from Effects Library onto clip
3. Gate the noise floor	Mixer > Dynamics > Gate	Air conditioner / room tone audible between sentences	Mixer track dynamics panel
4. Noise Reduction	Fairlight FX > Noise Reduction	Stubborn broadband noise that survives steps 1-3	Drag from Effects Library onto clip or track
5. AI Dialogue Leveler	Inspector > AI Dialogue Leveler (Studio) or manual keyframes	Voice gets loud/quiet within a sentence	Inspector Track FX section
6. Ducker	Track FX > Ducker	Music too loud under dialogue	Inspector on the music track

Steps

Phase 0 — Switch to Fairlight, set up your monitoring

1. Press Shift-7 to switch to the Fairlight page.
2. Open the Mixer (Toolbar > Mixer button).
3. Put on headphones. You will hear problems on headphones that you will miss on laptop speakers.

Step 1 — Clip EQ: cut everything below 80 Hz (always)

This is non-negotiable. Every voice recording has rumble, HVAC, traffic, and breath plosives under 80 Hz that contribute nothing to intelligibility but eat up headroom.

1. Select a dialogue clip in the timeline.
2. Open the Inspector (top right of the interface, then Audio tab).
3. Scroll down to Equalizer. Turn it ON (the radio button next to "Equalizer").
4. By default, Bands 2-5 are enabled. Set Band 2 to Low Shelf (the first icon in the Band Filter Type dropdown).
5. Drag the Band 2 handle in the graph down to -70 dB and right until the shelf reaches the 80-100 Hz line.
6. Repeat for every dialogue clip — or copy attributes from this clip to all others (Cmd-C on the clip, select others, Edit > Paste Attributes, check Equalizer only, Apply).

Fairlight Audio Post pp. 368-372 walks through this with the same EQ controls.

Step 2 — De-Hummer for any electrical hum

If you hear a constant tone behind the voice — usually a low buzz at 50 Hz or 60 Hz from poor cable shielding or a ground loop — use the De-Hummer.

1. Open the Effects Library (top-left button on Fairlight page).
2. Under Audio FX > Fairlight FX, find De-Hummer.
3. Drag De-Hummer onto the affected clip in the timeline.
4. In the De-Hummer window, click 60 Hz (or 50 Hz if you are in Europe / Asia / Africa).
5. Drag the Amount knob right until the hum disappears. Typical setting: -20 to -30 dB.
6. Adjust the Slope knob slightly right if you still hear harmonics (multiples of 60 Hz — 120, 180, 240).
7. Click the Bypass switch at the top to A/B compare. The Bypass switch is red when the filter is on.

Fairlight Audio Post pp. 376-380 covers this exactly. The trick is that the De-Hummer is a notch filter — it removes specific frequencies without affecting nearby ones, unlike EQ.

Step 3 — Gate the noise floor (track-level dynamics)

If there is a low-level hiss, computer fan, or AC noise that is audible between sentences but masked when the voice is playing, a gate kills it.

1. In the Mixer, find the dialogue track's channel strip.
2. Double-click the Dynamics section to open the Dynamics panel.
3. Click the Gate button to enable.
4. Start with these settings:
   • Threshold: -35 dB (default)
   • Range: -18 dB (start conservative)
   • Attack: 1.4 ms
   • Hold: 0 ms
   • Release: 93 ms
5. Play back the track. The Gain Reduction meter should activate only between sentences (when no voice). If the gate cuts off the start of words, raise the threshold (less negative). If it cuts off breaths or quiet sentence endings, lower the range.

The exact starting values come from Fairlight Audio Post pp. 373-375.

Step 4 — Noise Reduction (when steps 1-3 are not enough)

Some recordings have broadband noise (general "hisssss") that EQ cannot remove and the gate would chop up too aggressively. Use the Fairlight FX Noise Reduction.

1. From the Effects Library > Audio FX > Fairlight FX, drag Noise Reduction onto the affected clip.
2. The Noise Reduction panel opens. You have two modes:
   • Manual (default) — you "teach" the plug-in what the noise sounds like
   • Auto Speech Mode — algorithm separates speech from noise automatically
3. For Auto Speech Mode: just enable it. Adjust the Dry/Wet slider (default 80%). Lower it if voices start sounding "underwater."
4. For Manual mode: a. Find a section of the clip with only noise (silent gap, ideally at the start before anyone speaks). b. Click Learn to enable noise-profile capture. c. Play the noise-only section. d. Click Learn again to stop. The plug-in has now "learned" the noise. e. Play back the full clip — noise should drop dramatically.

Fairlight Audio Post pp. 381-383 covers both modes. Studio version only — free Resolve does not have the Noise Reduction plug-in. Free users: use a more aggressive Clip EQ (step 1) combined with the Gate (step 3).

Step 5 — AI Dialogue Leveler (Studio) or manual keyframes (Free)

Voices have natural dynamic range — a person gets quieter as they finish a sentence. The leveler evens this out.

Studio approach (one click):

1. Select the dialogue clip.
2. In the Inspector > Track FX section, enable AI Dialogue Leveler.
3. That is it. Adjust the strength slider if it sounds too "compressed."

Free Resolve approach (manual keyframes):

1. In the Edit page, Option-click (Mac) / Alt-click (Windows) the volume bar in an audio clip to add keyframes.
2. Add a keyframe before a quiet section, another keyframe after.
3. Drag the volume bar between keyframes up (typically +3 to +6 dB) to boost the quiet section.

Beginner's Guide pp. 150-153 covers the manual keyframe workflow with screenshots.

Step 6 — Duck the music under dialogue

If you have music underneath voice and the music swallows the voice, use the Ducker.

1. Select the MUSIC track (or the music clip).
2. In the Inspector > Track FX section, enable Ducker.
3. In the Ducker controls:
   • Source 1 dropdown: set to your dialogue track (e.g. DIALOGUE).
   • Duck Level: start at 2.7 dB (the default — a subtle duck).
   • If you have multiple dialogue tracks (host + guest), click the + to add Source 2 and Source 3.
4. Play back. Watch the Ducker Graph — when dialogue plays, the music level dips automatically.
5. If the duck is too dramatic, lower Duck Level. If you cannot hear the voice over music, raise Duck Level.

Fairlight Audio Post pp. 552-558 covers Ducker in depth, including the warning that Duck Level > 5 dB sounds amateurish because the audience perceives the dip.

Common mistakes

• Applying Noise Reduction first, then EQ -> wrong order. EQ out the obvious frequencies first so the Noise Reduction has less to remove and is less destructive. (This is the misconception this skill addresses head-on.) Fairlight Audio Post p. 368-372 establishes EQ before p. 381-383 noise reduction for this reason.
• Setting the Gate threshold too high -> it cuts off the start of each word. Listen carefully and back the threshold off.
• Cranking the Ducker Duck Level above 5 dB -> the audience hears the level swing and it feels artificial. Stay subtle.
• Forgetting that the Bypass switch is RED when ACTIVE -> the convention is inverted from what you might expect. Red = filter is engaged.
• Trying to fix wind noise -> the Fairlight FX cannot meaningfully fix wind. Re-record or use iZotope RX externally.

Verification

You succeeded if all of the following are true:

1. Listening on headphones at moderate volume, you cannot hear hum, hiss, or AC noise between sentences.
2. The loudness meter (top right of Fairlight) reads between -16 and -20 LUFS over the entire timeline (this is podcast-standard loudness).
3. Voice clips peak at around -9 dBFS to -3 dBFS but never clip (red).
4. Music plays at full volume when there is no voice, ducks audibly but smoothly when voice starts, returns to full when voice ends.
5. Bypassing the Clip EQ on the dialogue clip makes the audio sound noticeably "boomier" and worse — the EQ is doing something audible.

Transfer

Now try this on a 3-person podcast where each person has their own mic (so three separate dialogue tracks). The cleanup chain is the same per track, but the Ducker setup changes: in the music track's Ducker, add Source 1, 2, and 3 pointing at each of the three dialogue tracks. The music will duck when any of the three is speaking. If two people talk over each other, the duck does not stack — you get the same -2.7 dB dip whether one or three voices are active.

Working reference

• docs/wiki/fairlight-audio-post.md#lesson-6--audio-repairs-pp-367-415 (full cleanup chain — primary)
• docs/wiki/fairlight-audio-post.md#lesson-9--mixing-and-sweetening-pp-535-612 (Ducker setup)
• docs/wiki/beginners-guide.md#lesson-3--audio-editing-and-quick-export-pp-141-179 (free Resolve fallback — manual keyframes + Fairlight FX)
• docs/wiki/editors-guide.md#lesson-8--audio-editing-pp-475-543 (AI Dialogue Leveler reference)
• docs/wiki/master.md#reset-matrix--when-the-user-pushes-back-read-this (audio symptom rows — hum, hiss, ducker)

When the agent's work isn't matching expectations (context-rot reset)

If the user reports remaining hum, hiss, robotic ducking, or that the chain order was different, read these PDF page ranges to reset:

• DaVinci-Resolve-20-Fairlight-Audio-Post.pdf pp. 368-372 (Clip EQ for low-frequency reduction)
• DaVinci-Resolve-20-Fairlight-Audio-Post.pdf pp. 373-375 (Dynamics Gate, gating low-level noise)
• DaVinci-Resolve-20-Fairlight-Audio-Post.pdf pp. 376-380 (De-Hummer for power line hum)
• DaVinci-Resolve-20-Fairlight-Audio-Post.pdf pp. 381-389 (Noise Reduction — manual and Auto Speech Mode)
• DaVinci-Resolve-20-Fairlight-Audio-Post.pdf pp. 552-558 (Ducker — Duck Level cap at 5 dB)
• DaVinci-Resolve-20_Beginners-Guide.pdf pp. 142-158 (manual keyframes + Fairlight FX for free Resolve)
• DaVinci-Resolve-20-Editors-Guide.pdf p. 514 (AI Dialogue Leveler one-click voice leveling)