Shadow Hills Mastering Compressor (Buss Compressor).Sidechain compression can subtly make elements flow with the groove of the track, or be used with extreme settings to infuse rhythms in otherwise static, sustained elements. The compressor will duck the sub out of the way when the kick plays. Sidechain compression can be used to make space for competing elements, such as a kick drum playing at the same time as a bassline. Sidechain compression reduces the level of an audio signal based off an external input. Experimenting with different compressors and manipulating their settings is the best way to learn how they work. Compression is an art that can take years to fully grasp and utilize properly. It should normally be used after frequencies are removed to prevent transient frequencies triggering the compressor. Compression reduces the dynamic range of a signal and it’s one of the most powerful tools at your disposal. I recommend the follow EQs for gain reduction purposes:Īfter a sound has been thickened and its unwanted frequencies attenuated, it can be compressed in various ways to control its dynamic range. Static EQs are perhaps the most basic type of EQ and apply gain attenuation to the band you've selected regardless of the band's input level. With Frequency tracking EQs, the curve follows the fundamental frequency of a monophonic instrument such as a bassline. Sound Radix Surfer EQ is an example of this. Dynamic EQs apply gain attenuation based on the level of a band's incoming audio signal they are threshold level dependent devices. A de-esser is a dynamic EQ that responds to transients around 5-8kHz. Reductive EQ is often a utilitarian task you can use a stock EQ for the most part unless special processing is desired. Checking your mix in mono, as thats how your song will playback on a number of systems.
Ultimately, your ears are the best tool for identifying what sounds good. Phase issues can be identified through a vectorscope and stereo correlation meter. While some frequency overlap can be beneficial to a mix, be weary of potential phase issues with sounds that occupy the same frequency range. Once a sound is thickened with saturation, it's best to remove any part of the signal that you don't like, or know will cause masking issues when played with other sounds. I recommend checking out the following saturators: Deal with issues first, and enhance your material with this workflow afterwards. If the signal you're working with needs frequencies attenuated, you're not ready to apply this workflow yet. You'll notice that reductive EQ is placed after saturation in this list. Tube, tape, and digital saturation all have their own sound and can each be achieved through various plugins and/or hardware units. Saturation works well on busses to help glue sounds together, and it can also make sounds appear louder. Engineers commonly saturate audio when they want to thicken it up so that it punches through the mix. This causes signal to fill more of the audio spectrum making it sound fuller, akin to BOLDING text. Saturation can help generate additional harmonics within certain frequency ranges. Applying saturation applies a combination of distortion and compression. If that means swapping the order of these devices, taking away certain ones, or adding additional ones, go for it! 1. It's also important to note that this workflow is to be used as a starting point, and should absolutely be modified in order to accommodate the needs of the material you're working with. The workflow described is intended as a way to enhance your material, not save it from disaster.
0 kommentar(er)
