Brands and agencies
Make commercials and brand films sound as polished as they look, with levels that suit each platform.
Sound Design and Mixing
Clear dialogue, rich sound and a mix that plays at the right level on every platform and speaker.
From $150 per video
- Founder-led
- Fixed written quote in 48 hours
- Milestone payments
- NDA on request
- Weekly progress updates
Who it's for
Built for teams like yours
Filmmakers and documentary teams
Get location dialogue rescued, scenes built with ambience and Foley, and a mix ready for delivery.
Podcasters and educators
Turn rooms with echo and background noise into clear, comfortable listening.
What you get
Everything in your sound design and mixing project
01
Dialogue noise reduction
Hum, hiss, traffic, fan and room noise reduced in iZotope RX without making voices sound processed.
02
De-reverb and repair
Echo from bare rooms reduced, and clicks, plosives and mouth noise cleaned up.
03
Vocal sweetening
EQ, compression and de-essing so voices sound full, clear and consistent from scene to scene.
04
Ambient soundscapes
Room tone and background ambience laid under scenes so cuts feel continuous and places feel real.
05
Foley and sound effects
Footsteps, product clicks, whooshes, risers and impacts that make motion and transitions land.
06
Music edit and mix
Music cut to the picture and balanced under dialogue, with licensed tracks where you need them.
07
Loudness to standard
Final mix measured to EBU R128 and ITU-R BS.1770 for broadcast, or to the level a web platform expects.
08
Stems and M&E
Separate dialogue, music and effects stems, or a music-and-effects mix for dubbing into other languages.
CHAPTER 01
What sound design and mixing services do for your video
Viewers forgive soft focus far more readily than bad sound. Muffled dialogue, a humming air conditioner or music that drowns the speaker makes people click away, even when the picture is beautiful. Our sound design and mixing services fix that: we clean dialogue, build the sound world around the picture and mix everything to the right loudness for where the video will be heard.
01.1
Who it suits
The work suits brands and agencies finishing commercials and brand films, filmmakers and documentary teams with location audio, and podcasters and educators who record in ordinary rooms. It is part of our wider video editing service, and we take on projects edited by Omebly or by your own editor.
CHAPTER 02
What is included in the sound
Dialogue comes first, because it carries the message. In iZotope RX we reduce hum, hiss, traffic and room noise, remove clicks and plosives, and reduce the echo of bare walls. Repair is done section by section rather than with one setting across the file, which is what keeps voices natural instead of thin or watery. Then we sweeten the voice with EQ, compression and de-essing so it is full and consistent, even when it switches between a lavalier and a camera microphone.
02.1
Building the space
Sound design builds the space. Room tone and ambience smooth over edits and make a location feel real. Foley, such as footsteps, a cap twisting off or a laptop closing, gives products and actions weight. Risers, impacts and whooshes help transitions and motion graphics land, used with restraint so they support the edit rather than distract.
02.2
Music and the final mix
Music is cut to the picture and balanced so it lifts the energy without competing with speech. Finally, the mix is measured for loudness to EBU R128 and ITU-R BS.1770 for broadcast, or to the level a web platform expects, and delivered with stems or an M&E track if you need them.
CHAPTER 03
How we approach a mix
Before touching a fader we ask where the video will play. A mix for a cinema screen, a TV channel, YouTube and a phone in a quiet office each need different decisions. Phone speakers barely reproduce low frequencies, so we make sure key sounds still read on small speakers, and we always check mixes on speakers, headphones and a phone before sending them.
03.1
Trade-offs in repair
There are trade-offs in repair. Aggressive noise reduction can make a voice sound processed, so sometimes the better choice is to leave a little background and mask it with matching ambience. Similarly, music that sounds exciting on its own may need to be thinned out under dialogue so every word is clear. We explain these choices in review notes so you know why the mix sounds the way it does.
03.2
Multilingual projects
For multilingual projects, common for brands working across the Gulf and India, we plan the effects track and an M&E mix from the start, so the film can be dubbed later without rebuilding the sound.
CHAPTER 04
Timelines and what affects cost
A short ad with clean audio can be mixed quickly; a documentary with hours of location sound takes far longer. The biggest factors are the running time, the condition of the recordings, the number of speakers and microphones, how much custom Foley and sound design is needed, and the number of deliverables, such as separate broadcast and web mixes or stems.
04.1
Sending the right files
Sending the right files makes a real difference to time and quality. An AAF or XML with separate tracks and the original recorder files lets us work on each voice; a single mixed export limits what can be fixed. After a free consultation and a listen to your audio, we send a fixed written quote within 48 hours with the scope, review rounds and delivery date.
CHAPTER 05
Recording tips that make the mix better
Most audio problems start on set, and a few simple habits save a lot of repair. Get the microphone as close to the speaker as the shot allows; a lavalier or a shotgun just out of frame beats a camera microphone across the room every time. Switch off air conditioning, fans and fridges during takes where possible, and record half a minute of silent room tone at each location, which we use to smooth edits.
05.1
Recording tips
Soft furnishings, rugs and curtains reduce echo in bare offices. Record a backup audio track if you can, and keep levels well below the maximum so loud moments do not distort. For interviews, ask people not to talk over each other. If you are planning a shoot, we are happy to send a short audio checklist before the day.
CHAPTER 06
Why Omebly for sound
Projects are led by founder Nazmul Hussain, who brings 10+ years of building digital products, with an editor who treats audio as half of the film rather than an afterthought. You hear a review mix before the final master, pay in milestones on larger projects and can ask for an NDA on unreleased work.
06.1
You own everything
Once fully paid, the final mix is yours, along with any stems listed in your proposal. Sound pairs well with our colour grading to finish a film completely, and is especially useful for documentary and event films where audio is recorded in difficult conditions.
06.2
Talk to us
Send us a one-minute sample of your audio on WhatsApp or through the contact page, and we will tell you what can be fixed.
How we work
From first call to hand-over
- 1
Listen and brief
Under 1 weekWe listen to your cut and raw audio, note problems and agree the sound style, delivery platforms and loudness targets.
- 2
Dialogue edit and repair
1-2 weeksWe split and clean every voice track, fix noise and echo, and fill gaps with matching room tone.
- 3
Sound design
1-2 weeksAmbience, Foley, effects and music are built around the picture to support the story or product.
- 4
Mix and review
Under 1 weekWe balance everything, check on speakers, headphones and a phone, and send a review version.
- 5
Master and deliver
Under 1 weekFinal mix measured for loudness, laid back to picture and exported with any stems you need.
Tools we use
- iZotope RX
- DaVinci Resolve Fairlight
- Adobe Audition
- Adobe Premiere Pro
- Youlean Loudness Meter
Packages
Pick a starting point
From $150 per video. Every project gets a fixed written quote after a free consultation, with milestone payments.
Dialogue clean-up
From $150
- Noise, hum and echo reduction
- Levelling across speakers and scenes
- Music balanced under speech
- Loudness set for your platform
Full mix
Fixed quote
- Everything in dialogue clean-up
- Ambience and room tone
- Sound effects and transitions
- Mix checked on several playback systems
Sound design and delivery
Fixed quote
- Everything in the full mix
- Custom Foley and designed effects
- Broadcast mix to EBU R128
- Dialogue, music and effects stems or M&E
Compare
Omebly vs using automatic audio enhancement
| Omebly | Using automatic audio enhancement | |
|---|---|---|
| Noise removal | Targeted repair shot by shot in iZotope RX | One setting for the whole file, often watery voices |
| Consistency | Voices matched across scenes and microphones | Each clip processed on its own |
| Atmosphere | Ambience, Foley and effects designed for the scene | Silence or only music |
| Loudness | Measured to EBU R128 or the platform's target | Too quiet or clipping on some devices |
| Deliverables | Stems and M&E available for future edits | A single mixed file |
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FAQ
Sound Design and Mixing: questions people ask
Can you fix audio recorded in a noisy or echoey room?
Usually a lot can be improved. Steady noise such as fans, air conditioners and hum responds well to repair, and echo can be reduced noticeably. Very loud sudden noises over speech, or voices recorded far from the microphone, have limits. Send a one-minute sample of the worst section and we will tell you honestly what is achievable before you commit.
What loudness should my video be mixed to?
It depends on where it will play. Broadcast in many regions follows EBU R128, measured with the ITU-R BS.1770 method. Streaming and social platforms normalise playback to their own targets, so a mix made for TV may sound quieter online. We agree the platforms at the start and deliver separate versions if a film is going to both broadcast and the web.
What is the difference between sound design and mixing?
Sound design is creating and choosing sounds: ambience, Foley, effects, transitions and the overall sonic feel. Mixing is balancing all of those with dialogue and music so everything sits at the right level and nothing fights. A product ad might need heavy sound design and a simple mix, while an interview needs little design but careful dialogue mixing.
Do you provide music for the video?
We can source tracks from licensed libraries that suit commercial use, or work with music you have already licensed or commissioned. Licence terms vary by use, for example organic social, paid ads or broadcast, so tell us where the video will run. We edit the music to the picture so it rises and ends in the right places.
Can you deliver stems or an M&E track for dubbing?
Yes. We can export separate dialogue, music and effects stems, and a music-and-effects mix with no dialogue so the film can be dubbed into Arabic, Hindi or any other language later. Plan this from the start, as it affects how we build the effects track, especially for sounds that were only recorded with the original dialogue.
What files should I send for a mix?
Send the edit as an AAF or XML with separate audio tracks, plus the original audio recordings from any external recorder or lavalier mics. A reference video export helps us check sync. If you only have a mixed export, we can still clean and improve it, but separate tracks give far better results.
Start a project
Let's talk about your sound design and mixing project.
Tell us what you have in mind. You get a free consultation and a fixed quote within 48 hours.
Prefer email? info@omebly.com