Podcasts, interviews, panels, roundtables — anything where several microphones are running at once. Hush works out who is actually speaking, from how far each voice travelled rather than how loud it is, then mutes every other microphone and fades each edit.
Premiere Pro 2022 or later · macOS · cancel any time
Five people around a table means five microphones hearing five people. Hush reads every track, decides who has the floor moment by moment, and disables the rest — so you keep one clean voice instead of five copies of the same room.
When mics are close together, one person's voice arrives on everybody else's track only a few decibels down — too close for a level comparison to help. Hush also compares the shape of the signals: a mic that is only hearing someone else rises and falls with them exactly, and a second person genuinely talking does not.
Hush rebuilds the sequence as a file and re-imports it, rather than making thousands of edits one at a time. The difference is not marginal: a full episode is done while you are still reading the log.
Measured against hand‑labelled ground truth — a person marking who was actually speaking, second by second — on a five‑microphone recording. Not a demo reel: the same numbers were used to decide whether each change to the detection was worth keeping.
Loudness alone cannot separate two people sitting close together — a quiet talker on a hot mic reads louder than a loud one further away. So Hush also measures when the sound arrived. Sound covers about a metre every three milliseconds, so the microphone nearest the speaker hears them fractionally first, and that ordering does not care how loud anyone is.
No two rooms sound alike, so nothing here is fixed. Move a control and the whole edit changes shape. Try it — this is the real arithmetic, running on a sample of one of my own episodes.
Field recorders write every mic into a single multichannel file, and Premiere lays them out as tracks that all point at the same media. Hush works out which channel belongs to which track and decodes them separately — otherwise every track is the same mixdown, and no amount of tuning can tell five identical signals apart.
Tools in this space usually remove the quiet bits from one track, or switch camera angles based on who is loudest. Hush does something else: it decides, moment by moment, which microphone should be open, and disables the rest.
Two minutes, on a real episode: picking the mic tracks, saying what kind of recording it is, and what the timeline looks like afterwards.
The free version is the full product, limited to the first five minutes of any sequence. Same detection, same cuts, same fades — so what you hear is exactly what you would get. Paste a licence key to unlock the full length.
Billed yearly · works out at £15.83/month
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An email with the installer and your licence key. Drag the file onto the free ZXP Installer, restart Premiere, paste the key into the panel. No Terminal, no command line.
One at a time, and you can move it whenever you like. Remove from this Mac in the panel frees the licence immediately, so switching between a laptop and a studio machine, or replacing a computer, never needs an email to support.
Only to activate. After that Hush re-checks quietly whenever you are connected, and a dropped connection will never stop you mid‑edit. You can work on a train, on location, or with the wifi off.
No. It works on a duplicate and leaves yours untouched. Cuts are muted rather than deleted, so nothing is ever lost.
One thing to know: because the new sequence is created by rebuilding it as a file, Premiere’s importer leaves its Color Setup on “Custom” with a blank output colour space, which can make the new sequence preview darker. Exports are unaffected — verified by comparing rendered frames. Setting Sequence Settings → Color Management → Color Setup to match your original fixes the preview, and Hush reminds you on the panel after every run.
Best: every microphone recorded into one device — a Zoom, Rodecaster, Sound Devices or similar multichannel recorder — or separate files that started at the same moment. That is where arrival time is available, and it makes a large difference.
Hardest: separate recorders started at different times, with the microphones very close together. On one such session a mic picked up its neighbour louder than its own owner, and the recorders were not sample‑locked, so neither loudness nor timing could separate them. Hush still improves it — around 8% of words caught late and 33% leakage — but it will not be transformative. That is physics rather than a bug, and no setting fixes it.
The free 5‑minute mode exists precisely so you can find out which of these your recordings are before paying anything.
No. Hush rebuilds your sequence as a file and imports it back, and Premiere raises that notice on any imported sequence — it is telling you a report was written, not that anything failed. Click OK. A sequence containing nests imports as more than one sequence, so you may see several.
No, but it does more with one. Judging by mic distance needs every microphone to be a channel of a single recording, because that is the only way their clocks match — separate recorders drift apart by far more than the millisecond being measured. With a file per microphone Hush says so in the log and decides on level instead, which is how every other tool works. It is at its best on a field recorder.
Not yet. Hush is macOS only for now.
Fourteen days, no questions asked — email hushextension@gmail.com and it will be refunded and cancelled. The free version runs the full detection on your own audio first, so you should know whether Hush suits your recordings before you spend anything.