In OBS, you can make the volume of the background track automatically adjust to the person speaking into the microphone. And this is how it’s done. It’s better to pass by the phenomena, not to spoil your psyche, otherwise you’ll decide that sound adjustment can be adequately written in the text, giving examples.

Hello everyone, this is Schwarzenpukh, who never ceases to be amazed at how OBS has changed in recent years. Perhaps this is a rare case when something open source has surpassed almost all competitors, but..
I’m so slow that I find out about even the most important updates either by accident or late. This happened with support for VST plugins and volume indicators. What was added in the previous version?? Yes, exactly what the Bolsheviks have been talking about for so long! A whole sidechain!
Since this is a transcript, don’t be surprised that I’m calling your attention to the volume of the background music. Show don’t tell, as they say.

What is this?? This is controlling the volume of one audio channel by another. And this is needed in order to drown out the music, chatter in the background or the game itself when the streamer is talking.
That’s why I’ll periodically stop and let the sidechain do its thing so you can hear the difference.

The most interesting thing is that https://lunarwincasino.co.uk/games/ if you line up the microphone for those same -18LUFS or dbfs, if you want, everything else is not even a matter of technique, but just a couple of mouse clicks.
For simplicity and convenience, I recommend separating the base volume setting from the sidechain. Fortunately, there are separate things for this in OBS. If you wish, you can adjust the measuring rod somewhere in the middle, like mine.

The algorithm is as follows – we raise the volume of what is happening to the nominal gain, and then we start flattening it like hell with the sidechain.
How a regular compressor works is best read on Wikipedia, but I’ll share some interesting observations.
Firstly, with my volume settings, the value of the threshold parameter is approximately the same as the level to which everything is reduced. Here we have -35 – and everything drops about the same.
Here it is -40 – please, I really can’t hear anything.
But -25 – you can’t hear me anymore. You need to customize it according to your taste and how the stream viewers perceive it.

Attack and decline are also important to us. The attack is responsible for the speed at which the jammer is triggered, so it should be set shorter, but the decay, which regulates how quickly the jammer RELEASES, should be set longer. Because if the decline is short, the background will return during every breath. Which is not a buzz, so my value is 200 milliseconds. Everything is smooth and calm.

And yes, in this video the situation was as close as possible to combat and the sound was not processed in any way except in OBS. I hope you found the video itself useful and you will have one less problem. If you share this video somewhere, well done! And that’s all I have for today.

Well, a small addition is already outside the video – unfortunately, when cutscenes are made in the form of separate videos, the sound can be mixed completely differently. I already ran into this during tests. Be prepared to quickly twist or endure.

Best comments

The inhabitants of the blogs are so dumbfounded by the introductory lines, implying that we should be aware of what this is, that even the minus ones passed by ._.
However, the phenomenon ._.

What’s wrong? Schwarzenpukh’s blog about sound: I looked at it, added it to my bookmarks, forgot about it at the right moment, checked my bookmarks, looked at it, etc.d.

It’s just for those who are very, very familiar, but I’m not used to it and I’m surprised that the post’s rating was even zero)