Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

6 NC-M7-FLMANUAL > FL Manual 19 Limiter/Maximus > Flashcards

FL Manual 19 Limiter/Maximus Flashcards

1
Q

FL STUDIO - Fruity Limiter
What is Fruity Limiter?

A

-The Fruity Limiter is a powerful single band Compressor (with sidechain), Limiter & Gate.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

FL STUDIO - Fruity Limiter
To understand this we need to consider the way our hearing interprets the start (attack) and body (sustain) portion of sounds.
-It transpires that the attack (first ~10 ms) is used mainly to form impressions of timbre, clarity, crispness and punch, while the sustain contributes most to the perception of loudness.
–The sustain is most important because loudness perception comes from an integration (averaging) of the preceding 600-1000 ms to any given moment.

A

FL STUDIO - Fruity Limiter
To understand this we need to consider the way our hearing interprets the start (attack) and body (sustain) portion of sounds.
-It transpires that the attack (first ~10 ms) is used mainly to form impressions of timbre, clarity, crispness and punch, while the sustain contributes most to the perception of loudness.
–The sustain is most important because loudness perception comes from an integration (averaging) of the preceding 600-1000 ms to any given moment.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

FL STUDIO - Fruity Limiter
GAIN (Purple)

A
  • Post compression output (makeup) gain.
  • -NOTE: this gain is post-Compressor and pre-Limiter.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

FL STUDIO - Fruity Limiter
THRESH (Blue)

A
  • Compressor threshold.
  • -Sets the level above which the signal will be compressed.
  • –To disable the compressor stage set the threshold level to the maximum (0 dB) level.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

FL STUDIO - Fruity Limiter
RATIO (Blue)

A
  • Compression ratio.
  • -Sets the amount of compression to be applied once the threshold is exceeded.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

FL STUDIO - Fruity Limiter
KNEE (Blue)

A
  • Compression rate.
  • -Sets the transition between no and full compression.
  • –The compression ratio can be set to increase gradually (soft knee) or rapidly (hard knee).
  • —The compression envelope will display while the knob is held.
  • —–NOTE: For the compression stage to become active you must lower the THRESH (Threshold) below the input peaks and increase the RATIO and optionally KNEE controls.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

FL STUDIO - Fruity Limiter - Envelope
ATT (Attack time)

A
  • Adjusts how quickly the compression envelope responds to the start of the signal (in ms).
  • -NOTE: The ATT control also sets a ‘look-ahead’ delay the Limiter channel and so affects the latency of Fruity Limiter.
  • –The purpose is to allow the limiter algorithm to see transients before they arrive, so they can be reacted to instantly.
  • —As it’s impossible to look into the future, realtime processing is delayed so the incoming audio-stream can be previewed.
  • —-The ATT control for the compressor channel does not affect look-ahead.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

FL STUDIO - Fruity Limiter - Envelope
CURVE (Attack & Release curve tension)

A
  • Select from curve 1 (immediate attack/release) to 8 (slow attack/release).
  • -This control sets both the Attack and Release curves.
  • –NOTE: in the example below the attack was set to 1 ms and release 550 ms so only the release curve is visibly affected by the CURVE setting.
  • —At shorter release (REL) times the tension effect will be much less visible on the display, but can be very useful for tuning out distortion.
  • —-At longer release times, as shown below, the curve setting can be used to good effect timing/tuning side-chain pumping effects to get the right feeling to the volume ‘bounce-back’.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

FL STUDIO - Fruity Limiter - Envelope
How does Sidechain work?

A
  • This selector works in conjunction with the Mixer Sidechain (Track Send) routing.
  • -Sidechain options will not be available until one or more sidechain tracks are set in the Mixer (except if Fruity Limiter is on the Master Mixer track, when all tracks will be available).
  • –The Sidechain is sent FROM the Sidechain source Mixer track TO the Fruity Limiter Mixer track
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

FL STUDIO - Fruity Limiter - Envelope
Sidechaining Steps

A
  1. Select the Mixer track that carries the signal to be used as a Sidechain source.
  2. Right-click the Track Send / Sidechain Enable Switch on the Mixer track that carries Fruity Limiter (Sidechain destination).
  3. Select Sidechain to this track from the pop-up menu or ‘Sidechain to this track only’ if you want to mute the sidechain audio source by deselecting the source track’s send to Master. NOTE: You can send multiple side-chain sources to the Fruity Limiter’s Mixer track if needed.
  4. Right-click the SIDECHAIN selector on Fruity limiter’s COMP tab and choose the Mixer track you want to receive sidechain audio from. NOTE: Fruity limiter’s compression envelope will now be controlled by the sidechain Mixer track rather than the audio passing through Fruity Limiter’s own Mixer track.
  5. Lower the Threshold below the input peaks and increase the Ratio and optionally Knee controls to engage the compression stage.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

FL STUDIO - Fruity Limiter - Envelope
REL

A

-Release time (in ms), this is the main influence for the compression envelope release time. Set this too low and the sound may become distorted.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

FL STUDIO - Fruity Limiter - Envelope
SUSTAIN

A
  • Specifically, this sets the duration over which the input is averaged (RMS), from 0 to 1000 ms.
  • -The effect is to control compressor sustain time and prevents the compression envelope from releasing too early.
  • –NOTE: You don’t need to be overly concerned about compressor transients peaking over 0 dB since the limiter section can catch these.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

FL STUDIO - Fruity Limiter - Limiter Controls
-NOTE: The limiter section can be effectively bypassed by turning the ceiling (CEIL) to max and attack (ATT) to minimum.

A
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

FL STUDIO - Fruity Limiter - Limiter Controls
GAIN (Purple)

A
  • Limiter input gain.
  • -NOTE: this gain is post-Compressor and pre-Limiter.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

FL STUDIO - Fruity Limiter - Limiter Controls
SAT (Saturation) does what?

A
  • Controls the threshold level, signals reaching into the red region will be saturated.
  • -To lower the threshold, and so increase the saturation turn SAT left. Set by ear.
  • –Saturation (pleasing to some) is a type of amplitude distortion, usually associated with Valve / Tube Amplifiers, tape or analog circuitry.
  • —Generally, as a waveform exceeds the maximum amplitude that an analog system can carry, its shape is rounded or bent.
  • —-This bending is a mild distortion that progressively increases as the input approaches the maximum (0 dB).
  • —–TIP: For an alternative saturation sound allow the input to peak over the limit threshold, then blend in some ‘Soft-clipping ‘ from the saturation. Over-limiting adds its own kind of saturation effect that interacts nicely with the formal saturation process.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

FL STUDIO - Fruity Limiter - Limiter Controls
CEIL (Ceiling)

A
  • Limiter ceiling.
  • -Sets the level above which the signal will be limited.
  • –While it is not possible to disable the limiter stage completely, setting the ceiling level to the maximum (+12 dB) should effectively prevent limiter engaging.
  • —NOTE: For the Limiter to work the input signal must exceed the limiter threshold (CEIL). Your options are to lower the CEIL level, increase the GAIN level or increase the signal level entering the plugin.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

FL STUDIO - Fruity Limiter - Limiter Controls
Envelope
ATT (Attack time)

A
  • Adjusts how quickly the limiting envelope responds to the start of the signal (in ms).
  • -NOTE: The Limiter attack time is linked to a ‘look-ahead’ delay function that adds a delay to the plugins processed audio (hover your mouse over Fruity Limiters FX slot, to see the look ahead delay in the FL Studio Hint Panel).
  • –To avoid issues caused by plugin latency, such as phasing when you mix Fruity Limiter’s output with the dry input signal, set the attack to 0 ms OR when using Attack settings greater than 0 ms, enable the ‘Plugin delay compensation > Automatic’ option from the Mixer menu.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

FL STUDIO - Fruity Limiter - Limiter Controls
Envelope
CURVE (Attack & Release curve tension)

A
  • Select from curve 1 (immediate attack/release) to 8 (slow attack/release).
  • -NOTE: See the Compressor section for a more detailed explanation of the CURVE ‘tension’ effect.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

FL STUDIO - Fruity Limiter - Limiter Controls
Envelope
REL

A
  • Release time (in ms).
  • -There are two release controls, this is the main influence for the compression envelope release time.
  • –Set this too low and the sound may become distorted.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

FL STUDIO - Fruity Limiter - Limiter Controls
Envelope
SUSTAIN

A
  • Specifically, this sets the duration over which the input peaks are averaged (RMS), from 0 to 1000 ms.
  • -The effect is to control limiter sustain time and prevents the envelope from releasing too early.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

FL STUDIO - Fruity Limiter - Limiter Controls
Envelope
-NOTE: In order to trap transient signals before they pass through the Limiter a look-ahead time greater than 0 is needed. If 0 latency is desired then you can set the limiter’s attack to zero and then adjust the compressor’s attack to achieve the same effect (or as close as possible).

A

FL STUDIO - Fruity Limiter - Limiter Controls
Envelope
-NOTE: In order to trap transient signals before they pass through the Limiter a look-ahead time greater than 0 is needed. If 0 latency is desired then you can set the limiter’s attack to zero and then adjust the compressor’s attack to achieve the same effect (or as close as possible).

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

FL STUDIO - Fruity Limiter
Analysis Display

A

-The analysis display is a valuable analysis tool to observe how the various plugin settings interact with the input / output sounds. Click on the display to Pause the display.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

FL STUDIO - Fruity Limiter
Display Controls & Options
Option

A

-Displays plugin information.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

FL STUDIO - Fruity Limiter - Display Controls & Options
Show input peaks

A

-Display the input level graph.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

FL STUDIO - Fruity Limiter - Display Controls & Options
Show output peaks

A
  • Display the output level graph.
  • -Where the input (purple) and output (green) peaks overlap the color is gray.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
26
Q

FL STUDIO - Fruity Limiter - Display Controls & Options
Show analysis & gain envelopes

A

-Displays the analysis (blue) and gain (white) envelopes applied to the selected band (white = compression envelope).

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
27
Q

FL STUDIO - Fruity Limiter - Display Controls & Options
Show level markers

A
  • Displays the GAIN (purple), CEIL (green) & THRESH (blue) level settings.
  • -In the default position the lines overlap at 0 dB and show as a single white line.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
28
Q

FL STUDIO - Fruity Limiter - Display Controls & Options
Speed

A
  • Scroll speed slider (up is faster, down is slower).
  • -To PAUSE the display, click on the display area. Once paused, you can continue to change display modes to examine data of interest.
  • –NOTE: The limiter works on peak levels and the compressor on RMS (average) levels. The blue signal trace is the RMS input signal.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
29
Q

FL STUDIO - Fruity Limiter - Noise Gate Controls
GAIN (Noise gain)

A
  • Adjusts the signal level passing through the gate in the closed condition (the default 100%, i.e. no gating).
  • -Turn to the left for more gating effect.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
30
Q

FL STUDIO - Fruity Limiter - Noise Gate Controls
THRESH (Noise threshold)

A
  • Gate threshold.
  • -When the input level passes the Noise threshold the gate opens (immediately).
  • –The gate release is triggered when the signal falls below this same threshold to stop the signal.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
31
Q

FL STUDIO - Fruity Limiter - Noise Gate Controls
REL

A
  • (Noise release time).
  • -Longer release times cause the gate to close slowly, short release times cause abrupt closures.
  • –This acts in the same way as the release in an ADSR envelope.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
32
Q

FL STUDIO - Fruity Limiter - Noise Gate Controls

  • NOTE: The Gate is useful to suppress the noise that sometimes becomes audible on the tail-end of heavily compressed sounds where high levels of make-up (post compression) gain are used.
  • -It can also be put to creative uses, such as the classic ‘gated snare’ sound.
  • –Place a long heavy reverb on a snare, then set the gate Gain to minimum, the Release high and the Threshold to open on the initial snare hit.
  • —Tune release length to match the BPM of the track.
A

FL STUDIO - Fruity Limiter - Noise Gate Controls

  • NOTE: The Gate is useful to suppress the noise that sometimes becomes audible on the tail-end of heavily compressed sounds where high levels of make-up (post compression) gain are used.
  • -It can also be put to creative uses, such as the classic ‘gated snare’ sound.
  • –Place a long heavy reverb on a snare, then set the gate Gain to minimum, the Release high and the Threshold to open on the initial snare hit.
  • —Tune release length to match the BPM of the track.
How well did you know this?
1
Not at all
2
3
4
5
Perfectly
33
Q

FL STUDIO - Fruity Limiter - Comparison Bank
Store in spare state (Down arrow symbol)

A

-Saves the current state to the comparison bank.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
34
Q

FL STUDIO - Fruity Limiter - Comparison Bank
Flip with spare state (A/B compare)

A

-Selecting this control will allow you to make A/B comparisons between the stored and current settings. Useful for hearing the effect of a tweak more clearly.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
35
Q

FL STUDIO - Fruity Limiter - Signal Flow
The signal flow goes of Fruity Limiter

A

-From the input to the Compressor (COMP), Gain, Limiter (with integrated Noise Gate), Saturation (SAT) and finally to the plugin output.

36
Q

FL STUDIO - Fruity Limiter
To use the Compressor or Limiter in isolation, do what?

A
  • Turn the Limiter CEIL or Compressor THRESH to their maximum value respectively.
  • -In the case of the Limiter also set ATT to 0.
37
Q

FL STUDIO - Fruity LSD
What is Fruity LSD?

A
  • Fruity LSD is based on Microsoft DirecX technology. There is no native equivalent on Mac.
  • -Fruity LSD allows you to access the synthesizer/sampler built into your soundcard from within FL Studio.
  • –It provides sixteen MIDI instruments with an option to import DLS level 1 banks.
38
Q

FL STUDIO - Maximus Multiband Maximizer
What is Maximus Multiband Maximizer?

A
  • Maximus is much more than a pristine quality Mastering Maximizer, it’s also a Compressor, Limiter, Noise Gate, Expander, Ducker and De-esser.
  • -Maximus excels equally well as a final-stage mastering plugin or as a per-track effect
  • –Maximus features at a glance:
  • 3 independent user-definable High Mid Low (HML) frequency bands.
  • -Custom look-ahead for the HML bands and Master compression envelopes.
  • –4 limiter/compressors: One per HML band plus a Master wide band limiter/compressor.
  • —-Each compressor has an infinitely variable compression curve. Create any shaped knee or special effects (limiting, compression, gating or expansion).
  • ——Fully configurable. Any of the HML or Master compressors can be bypassed to configure Maximus to suit any limiting, compression or maximization task.
  • Two saturation types per HML & Master bands, with independent gain.
  • -Phase-free mixing between the frequency dependent compressors and the master, perfect for parallel & NY-style compression.
  • –Per-band stereo separation controls.
  • —Optional IIR or Linear-phase band-split filtering.
39
Q

FL STUDIO - Compression
What is the Curve setting on Fruity Limiter?

A
  • Curve is a tension stall control that functions to semi-delay the release.
  • -Also a very very slight attack tension delay.
40
Q

FL STUDIO - Maximus Multiband Maximizer
What is the difference between release 1 and release 2?

A
  • Release one has an accelerating release curve which starts slower
  • -Release 2 has a decelerating release curve which starts faster.
  • –NOTE: They can be combined
41
Q

FL STUDIO
How to De-Esss a vocal in Edison?

A
  • Load the vocal in edison in spectral view
  • -Select the portion where the S sound is occurring
  • –Manaully EQ it down at that frequency.
42
Q

FL STUDIO - Maximus Multiband Maximizer
Signal Flow

A
  • Input, Low cut, Up sampling
  • -Then split into 4 signal paths: Low, Med, High, Dry mix portion
  • –Each of the 3 frequency bands passes through: Sterep sep, Pre gain, Comp, Post gain, Sat
  • —The 4 signals recombine, downcample, and go through the master
  • —-Master signal flow: sterep sep, pre gain, comp, post gain, sat.
43
Q

FL STUDIO - Maximus Multiband Maximizer
The key parameters to the ‘sound’ of most compression settings are?

A
  • The PRE and POST gain
  • -Compression envelope shape
  • –The RELEASE time.
  • —You will need to fine-tune these parameters to suit the timing and dynamics of the sounds you are Maximizing.
44
Q

FL STUDIO - Maximus Multiband Maximizer
The art of setting a compressor is in doing what?

A

-In fine-tuning the magnitude, speed and timing of the automated gain changes so that the compression process does not introduce artifacts.

45
Q

FL STUDIO - Maximus Multiband Maximizer

  • Here we encourage you to think about some of the more creative uses for the Maximus compression envelope.
  • -The left panel ‘Gating’ will cut any input signal below -12 dB.
  • –The ‘Expansion’ curve will amplify low level signals, then limit them to 0 dB, while the ‘Inversion’ curve will invert the volume of a sound - loud is quiet and quiet is loud.
  • —Indeed, anything is possible when you are using Maximus ‘creatively’.
A

FL STUDIO - Maximus Multiband Maximizer

  • Here we encourage you to think about some of the more creative uses for the Maximus compression envelope.
  • -The left panel ‘Gating’ will cut any input signal below -12 dB.
  • –The ‘Expansion’ curve will amplify low level signals, then limit them to 0 dB, while the ‘Inversion’ curve will invert the volume of a sound - loud is quiet and quiet is loud.
  • —Indeed, anything is possible when you are using Maximus ‘creatively’.
46
Q

FL STUDIO - Maximus Multiband Maximizer
-It’s worthwhile to take some time to experiment with the MASTER compression envelope of the ‘Default’ Maximus patch, to see how sounds are affected by various compression curves.

A

FL STUDIO - Maximus Multiband Maximizer
-It’s worthwhile to take some time to experiment with the MASTER compression envelope of the ‘Default’ Maximus patch, to see how sounds are affected by various compression curves.

47
Q

FL STUDIO - Maximus Multiband Maximizer
PRE GAIN

A
  • The Pre Gain is an important parameter which allows you to set the input level within the desired range of the compression envelope.
  • -There is no point setting a compression curve if the input never reaches the compression threshold (where the line deviates from 1:1 input to output ratio).
  • –Alternatively, you can edit the compression curve to match the active range of the input signal.
48
Q

FL STUDIO - Maximus Multiband Maximizer
POST GAIN

A
  • Adjust the post gain so that the peak volume is close to 0 dB.
  • –You should notice that percussion sounds much louder (particularly the bass).
49
Q

FL STUDIO - Maximus Multiband Maximizer
Attack & Release

A

-Generally, the principle for setting both the attack and release is to avoid any obvious artifacts such as ‘pumping’ (volume/brightness changes in time with loud sounds) and to achieve the right balance of sounds in the mix.

50
Q

FL STUDIO - Maximus Multiband Maximizer
Visual analysis

A

-Turn off all display options except the Band input peaks and the Band gain envelope should allow you to clearly see the input peaks and the compression envelope applied, along with the effect of adjusting the release envelope.

51
Q

FL STUDIO - Maximus Multiband Maximizer
Exercising the compressor - there will be no compression at all unless what?

A

unless the signal peaks past the ‘Threshold’ point.

52
Q

FL STUDIO - Maximus Multiband Maximizer
How to get signal peaks past the Threshold point?

A
  • Modify the PRE GAIN so that the signal sweeps across the compression zone by the desired amount.
  • -Modify the POST GAIN by the opposite number of dB the PRE gain was changed (reverse it). This will restore the uncompressed parts of the signal to their original levels.
  • –Redraw the curve to sit across the desired parts of the signal.

-Rescale the curve - You may find that the signal of interest hardly peaks the compressor curve input, the lowest label marks -18 dB.
–To rescale the curve by 12 dB, so that the curve starts at -30 dB, increase the PRE gain by 12 dB and decreasing the POST gain by 12 dB, leaving the level of the uncompressed signal unaltered.
Bullet time - If you are having trouble hearing the effect of the compressor increase the RELEASE envelope to around 500 ms. Useful as an audio verification.

53
Q

FL STUDIO - Maximus Multiband Maximizer
Compression vs Waveshaping

A
  • When the Release time is longer than the period of the lowest frequencies in the waveform, smooth ‘volume envelope’ compression is achieved.
  • -When the Release setting is shorter than the period of the lowest frequencies in the waveform, then the input signal will be waveshaped.
  • –It is this waveshaping that creates the distortion seen and heard in the output.
  • —Of course, shorter release times affect higher frequencies, so as the Release time is reduced, progressively higher frequencies will be affected.
  • —-This also applies to the Attack and Sustain controls. Anything that limits the temporal responsiveness of the compression envelope. Use this knowledge to achieve smooth compression or aggressive distortion effects, your call.
54
Q

FL STUDIO - Maximus Multiband Maximizer
What is Limiting

A
  • Limiting is simply heavy compression.
  • -The purpose is usually to ‘limit’ the output volume at a certain maximum level, usually 0 dB, to avoid clipping in a final track.
  • –Limiting prevents signal transients (fast peaks) from clipping the final mix.
  • —Although limiting may be applied to any channel in Maximus (LOW, MID, HIGH), we will concern ourselves with the complete mix and apply a Limit curve to the MASTER compression envelope and so limit the maximum output to 0 dB.
55
Q

FL STUDIO - Maximus Multiband Maximizer
Since the audio analysis takes a finite amount of time, it is possible that the fastest transient peaks will slip through the compressor before the system can react. To solve this problem, do what?

A
  • Use a fast attack and look-ahead are used.
  • -Look ahead applies a small delay to the plugin so that it can ‘look-ahead’ into the signal to detect the fast transients and apply the compression ‘just in time’.
56
Q

FL STUDIO - Maximus Multiband Maximizer
For complete mix limiting it is less critical to keep the LOW, MID and HIGH bands below 0 dB, why?

A

-The MASTER limiting will prevent clipping.

57
Q

FL STUDIO - Maximus Multiband Maximizer
Setting a Limiter

A
  • Load a completed song in your host and put Maximus into the Master Mixer track.
  • -Patch - Start with the patch labeled ‘Default’.
  • –Set the compression envelope - The ‘Default’ patch has all the bands set to ‘hard-limiting’, as shown above. Select the LOW, MID and HIGH bands and turn them off using the COMP OFF switch to the right of the band selector tabs (don’t use the OFF switch as it will mute the band). Only the MASTER band envelope will now be active. Examine the compression curve, prior to the 0 dB point - the input and output ratio has been set at 1:1. That is, there is no change to the output for signal inputs below 0 dB.
  • —Set the compression curve - The ‘Default’ patch already has a 0 dB ‘brick-wall’ limiter function set.
  • —-Pre gain - Start your host playing from the loudest parts of your track and adjust the Pre Gain so that the input level peaks occasionally into the limit range (above 0 dB). Our example is a little extreme for a final mix, as most of the signal exceeds this level. As always, let your ears rather than eyes be the final judge of what works best. Experiment with various input levels and listen to the results to learn what over-limiting sounds like.
  • —–Attack & Release - The attack of the MASTER band is also a ‘look-ahead’ delay. For limiting duties it is critical that a delay is set so that fast transients don’t slip through. The default is set to 2.0 ms; decrease this value to zero and note how the limiter is less effective. The release should be set by ear. The default should sound reasonable. Here again, experimentation is the key. Generally, the principle for setting the attack and release times is to avoid obvious artifacts such as ‘pumping’ (volume/brightness changes in time with loud sounds) and to achieve a transparent balanced sound for the final mix.
  • ——Visual Analysis - In the display analysis the purple trace represents the Band analysis envelope (in this case it also closely represents the input peak levels). It is clear that the output (green peaks) do not exceed 0 dB.
58
Q

FL STUDIO - Maximus Multiband Maximizer
What is Parallel or NY Compression

A
  • Parallel, or NY compression, is the term given to the compression technique in which a dry (uncompressed) signal is mixed with an over-compressed copy of the same signal.
  • -The purpose of such compression is to increase the average volume of the quieter parts of the signal, while preserving transients that would usually become squashed when heavily compression is applied.
  • –NY compression has a distinctive sound.
59
Q

FL STUDIO - Maximus Multiband Maximizer
Setting parallel compression

A

-Load Maximus into a mixer channel with a percussion track. Ideally it should contain kick and snare sounds.
–Default Patch - Start with the patch labeled ‘Default’.
—BANDS - Turn OFF the LOW and HIGH compression bands, leaving the MID and MASTER compression envelopes active. You will notice that the MID band now covers the full bandwidth automatically (see BANDS display).
—-Set the compression envelope - Set a heavy compression on the MID band envelope with a ‘Soft Knee’ curve. This will sustain the lower level signals when used with a long release time. Leave the MASTER on the default setting (hard limit at 0 dB).
—–Attack & Release - Set a short attack (2-10 ms) and long release time (100-300 ms). It is particularly important to have the release set to sustain and fill the inter-beat interval.
——Pre & Post Gain - Increase the MID band PRE GAIN so that the input peaks to the full scale on the compression curve. Leave the POST GAIN at the default setting.
——-Parallel mix - Turn the LMH MIX control fully counter-clockwise (left) to allow only the uncompressed signal to pass. Turn the LMH MIX to the right until you find the preferred balance between the pumping MID band and the dry input.
If you have the settings correct, your percussion track should be transformed into a huge pumping wall of sound when you turn the LMH Mix control to the right.

60
Q

FL STUDIO - Maximus Multiband Maximizer
What is Sidechain Compression

A
  • Sidechain compression describes the process in which the sound driving the compressor envelope is (usually) unrelated to the sound being compressed.
  • -The term ‘Sidechain’ comes from analog compressors that accepted an audio-input separate to, and unmixed with, the signal chain.
  • –In other words, a ‘side-chain signal’. The Sidechain was used as the control signal (e.g. kick drum) and the signal-chain was compressed in response to this sound.
  • —Side-chaining causes a pumping, ducking or gating effect, as used in the ‘Parallel / NY Compression’ tutorial above.
  • —-Strictly speaking, Maximus does not have a sidechain input, however there is a work-around as Maximus can selectively listen to a narrow slice of the frequency spectrum focused on the signal you want to control the compressor by. In this tutorial we will set Maximus into MID master mode, so that the MID band acts as a single wide-band compressor, and then single out the trigger frequencies in the mix using the LOW and HIGH cut controls on the MID band.
61
Q

FL STUDIO - Maximus Multiband Maximizer
-Strictly speaking, Maximus does not have a sidechain input, however, it has what?

A

-Maximus can selectively listen to a narrow slice of the frequency spectrum focused on the signal you want to control the compressor by.

62
Q

FL STUDIO - Maximus Multiband Maximizer
Setting sidechain compression, how to?

A
  • Load Maximus into a mixer channel with a percussion track. Ideally it should contain kick and snare sounds.
  • -Master MID mode - Master MID mode from the general options menu (). MID master disables the LOW and HIGH compressors, leaving the MID band to control the MASTER output.
  • –Set the MID frequency band - Turn on the Output spectrogram () and select the BANDS mode on the Analysis Display. Identify the frequency range of the Kick sound and narrow the MID bandwidth around this range.
  • —Set the compression envelope - Set a curve similar to the ‘Heavy compression’ (mid top panel of the curves above) however drag the last point down to the 0 dB line.
  • —-Pre & Post Gain -It’s important that the MID band input is peaking to around +9 dB (use the PRE gain).
  • —–Attack & Release - Start with a fast attack (2 ms) and a relatively slow release ~300 ms. The release parameter will need to be tuned to the tempo of the track, the aim is to have the compressor release about mid-way between kicks.
63
Q

FL STUDIO - Maximus Multiband Maximizer
What is Noise Gating?

A
  • Noise Gating is the process of muting a sound, usually after the signal falls below a certain level.
  • -Noise gating is useful to mute low level hum or hiss, often found in recordings made at live gigs.
  • –In this example we will set the MASTER Band compressor curve to mute once the input signal falls below a certain level.
  • —As you work through this example, bear in mind you can also isolate the sound in one of the LOW, MID or HIGH bands and gate only the troublesome band.
64
Q

FL STUDIO - Maximus Multiband Maximizer
How to set a noise gate

A

-Patch - Select ‘Gate’. This preset uses the MASTER compressor envelope as the gate.
–Compression envelope - The key to gating is the opposite of compression, that is we want the volume to drop to zero once the signal falls below a certain level. Note that the MASTER compressor envelope does this by falling prematurely to zero at around -18 dB. If you have loaded the ‘Maximus NoiseGate Tutorial 44kHz.wav’ and play this through the default Gate preset you should notice that the gating threshold is set too high and is chopping the tails from the vocal. Here’s one solution -
Turn off the ‘SNAP’ switch below the envelope.
Delete the point that is at about -12 dB.
Right-click on the point where the curve contacts the bottom of the graph and select hold from the menu. This creates a step function.
Drag the point back up to the 1:1 line and slide it down this path to the lower left until you find a better low cutoff point. Look for a point where the hum is gated when the vocals stop but that allows most of the tail of the vocal through.
Note that you are probably still having issues?
—Attack & Release - One solution to the premature gating issue (above) is to turn up the release so that momentary excursions below the cutoff point don’t gate the output. The attack and release parameters are critical in a gate, the attack needs to be fast so the gate opens as soon as a signal is received, however the release needs to be slow enough to hold the gate open so that the tail of sounds can make it through.

65
Q

FL STUDIO - Maximus Multiband Maximizer
What is Ducking?

A
  • Ducking is the process of momentarily lowering the volume of one signal in the presence of another and relies on the same principles as used in the side-chain compression tutorial above.
  • -Ducking is most commonly used in voice-over applications where a music track needs to be lowered so that the spoken part can be more clearly heard.
  • –Radio-announcers, DJ’s, PA operators and movie-makers can all benefit from ducking.
66
Q

FL STUDIO - Maximus Multiband Maximizer
Setting Maximus to duck

A
  • Patch - Select ‘Ducking music behind voice’.
  • -Band compressors - Only the master band is active for this function.
  • –The compression envelope - Note that a hard-limit to 0 dB is set once the input reaches 0 dB. The compression will start once the signal passes this point. Keep this in mind for the next step.
  • —Attack & Release - The attack needs to allow the compressor to start immediately with the vocals, however the release should do so relatively slowly so the music fades back in, this can add some drama to the spoken parts. You will probably find the maximum release works well for most material.
  • —-Pre & Post Gain - Note that the compression starts at 0 dB. Set the PRE gain so that the loudest parts of the music peak just below the 0 dB. Once the voice is added set it to drive the compressor well into the +6 dB to + 9 dB range. This will cause the compressor to duck the music track. As the output of Maximus is limited to 0 dB the POST gain can only be decreased.
67
Q

FL STUDIO - Maximus Multiband Maximizer
What is De-essing?

A
  • De-essing selectively limits the high frequencies in a sound (usually vocals) from exceeding an acceptable maximum.
  • -Often, when recording vocalists, ‘s’ and ‘t’ sounds become overly bright and detract from the quality of the recording.
  • –Sibilance, the technical term, can be tamed by ‘de-essing’ the recording (so called as it affects the ‘s’ sound most noticeably).
  • —The novice may simply turn down the high frequencies with an EQ, however this causes the vocal to lose its brightness and clarity.
68
Q

FL STUDIO - Maximus Multiband Maximizer
Setting Maximus for de-essing

A

-Where to use - Single instrument tracks (usually vocals).
–Tutorial source - No-one admits to making noisy recordings, so to save you embarrassment we have created one for the tutorial ‘Maximus NoiseGate Tutorial 44kHz.wav’. It is a short vocal mixed with some power-supply hum (no we don’t admit to making recordings with noise like this either). To download the file you will need to create a logon at freesound. The freesound project is an initiative of the Music Technology Group of Pompeu Fabra University to build a library of Creative Commons licensed sounds.
—Open preset ‘De-esser Split Band’ - Maximus has some excellent de-esser presets so open ‘De-esser Split Band’ patch. Note that a good de-esser setup will have a subtle effect on the sound, once your patch is tweaked to the problem frequencies you may need to A/B compare the sound with and without de-essing. Apply only as much de-essing as required.
Band compressors - You will notice the LOW band is ‘COMP OFF’ the MID band is ON. The MID band is controlling the sibilance, although its frequencies now extend up to 20 kHz as the HIGH band is OFF. The MASTER is also OFF. The difference between OFF and COMP OFF is that OFF completely bypasses the band while COMP OFF still passes signal through the band but without processing it. In summary, the MID band is the only active compressor in this patch. Since sibilance affects the high frequencies, adjust the LOW frequency setting of the MID band to be at the lower limit of the sibilance to be tamed.
—-The compression envelope - The MID (sibilance) band is heavily compressed holding input signals to around - 6 dB. The high frequencies passing through this band are be allowed to reach -6 dB without modification, however when they exceed this level they are heavily limited. Experiment with variations on this curve with the tutorial sound.
—–Pre & Post Gain - The idea is to limit the high frequencies, so you may need to adjust the PRE gain so that the sibilance drives into the compression range, otherwise they will pass unmodified. Decrease the POST gain by the same amount that you increased the PRE gain so the uncompressed parts of the sound maintain their original volume.
Attack & Release - The two most common sibilant sounds vary in their duration significantly, T sounds are transient while S sounds can last a second or so. Adjust the attack so that T sounds are caught and the release so that S sounds are held long enough to have a damping effect on their overall brightness. Experimentation will be key.
NOTE: Rather than rely on post-process de-essing, try to avoid sibilance in the original recording.

69
Q

FL STUDIO - Maximus Multiband Maximizer
What is 0 dB?

A

So you’ve noticed that the input/output of Maximus is measured in dB (decibels) and wondered what it means? Consider that a signal passing through Maximus without change has a 1:1 input to output ratio (1*input:1*output). Since we are engineers, and therefore quite nerdy, we will decide that all levels are thus to be measured relative to 1 (no change). We also agree among ourselves that values below 1 are negative and values above it positive (think negative and positive change). At this point we also realise that fractions aren’t exclusive enough (even our mothers will understand if we say the signal level is half as loud). What to do? Let’s choose to work in a logarithmic scale and, since all values are relative, let’s use a ‘relative’ logarithmic scale - the decibel! At this point we (being engineers), look around and realise that no-one knows what we are talking about and nod vigorously at each other in agreement, 0 dB = an unaltered signal. Still confused? The levels are given as a decimal fraction where 0 dB = 1.0.

It turns out that a change in volume of 1 dB approximates the just noticeable difference (jnd) in volume. Thus, sound levels are rarely stated in fractions of a dB, you just don’t care. If you want to convert relative volumes (as decimal fractions) to decibels calculate the Log take the 20 * Log of the decimal to return an answer in deci (tenths) of a Bel. 0.5 or 50%, for example = 20 * Log 0.5 = 20 * -0.30 = -6 dB. It certainly sounds cooler to say “turn the vocal down by 6 dB” than to say “turn the vocal down by half” Still confused? Use your ears to set volume levels and don’t exceed 0 dB on the MASTER band if the output will be rendered to wave format. My job here is done.

70
Q

FL STUDIO - Fruity Mute 2
What is Fruity Mute 2?

A

-Fruity Mute 2 is a simple plugin for automating mutes in FL Studio mixer chain.
–It can also be used in combination with the Mixer routing to create L and R channel only sub-mixes.
—An alternative is Stereo Shaper.
Parameters
-Mute - Turns the sound on/off.
–Channel - Allows you to select left, right of both channels for muting.

71
Q

FL STUDIO - Fruity Multiband Compressor
What is Fruity Multiband Compressor?

A
  • Fruity Multiband Compressor is a three band stereo compressor using ButterWorth IIR or LinearPhase FIR filters to separate the incoming signal into three bands for processing.
  • -Limiter functionality is also included.
  • –A related plugin is Maximus.
72
Q

FL STUDIO - Fruity Multiband Compressor
Input & Filtering
IN/OUT (Peak Meter)

A
  • Located below the peak meter, this switch () displays either the incoming or outgoing signal strength.
  • -Hover your mouse pointer over the peak meter and look at the Hint Bar to see exact values.
73
Q

FL STUDIO - Fruity Multiband Compressor
Input & Filtering
IIR/FIR (Filter type)

A
  • Select either an IIR (ButterWorth IIR, 24dB/oct) or a FIR (LinearPhase) filter.
  • -FIR is recommended for mastering applications.
74
Q

FL STUDIO - Fruity Multiband Compressor
Input & Filtering
LIMITER

A

When selected (ON) the output of the Multiband Compressor will not exceed 0 dB.

75
Q

FL STUDIO - Fruity Multiband Compressor
Input & Filtering
SPEED

A
  • Controls the scroll rate of the peak/filter cutoff display.
  • -When the slider is set to 0 (far left) the peak display will be turned off and only the filter cutoff graph will be displayed.
76
Q

FL STUDIO - Fruity Multiband Compressor
Input & Filtering
Filter cutoff

A
  • Four knobs below the Speed slider for selecting the filter cutoff.
  • -From left to right: Lowpass upper limit, Midband lower limit, Midband upper limit and Highpass lower cutoff.
  • –The frequencies defined by these cutoffs as Low, Mid and High are then fed to the LOW BAND, MID BAND and HIGH BAND compressors.
77
Q

FL STUDIO - Fruity Multiband Compressor
Low, Mid & High Band Compressor Controls
A/M/B

A

-Next to the LOW, MID and HIGH BAND labels, this switch lets you select the state as Active (): compressor activated, Muted (): band sound muted, or Bypass (): band sound passed without alteration.

78
Q

FL STUDIO - Fruity Multiband Compressor
Low, Mid & High Band Compressor Controls
Threshold

A
  • Sets the dB level at which the compressor kicks in.
  • -Range: 0.0 to -60.0 dB. Should be adjusted according to the relative input level and the type of audio material.
  • –Once the threshold is reached, compression will reduce the gain of the input signal according to the current Ratio, Type, Attack and Release settings.
79
Q

FL STUDIO - Fruity Multiband Compressor
Low, Mid & High Band Compressor Controls
Ratio

A
  • From 1:1 (max. left) to ∞:1 (max. right). Controls the amount of compression (gain reduction) that will be applied to the signal once the threshold level is reached.
  • -The ratio denotes the difference in dB between input and output levels, i.e. how much the signal above threshold level will be compressed.
  • –For example, a ratio of 4:1 means that when the input level increases by 4dB, the output level of the signal above threshold will increase by 1dB.
80
Q

FL STUDIO - Fruity Multiband Compressor
Low, Mid & High Band Compressor Controls
KNEE

A
  • Left 0%=Soft, Right 100%=Hard.
  • -While attack controls how fast a compressor acts, the knee characteristics control the rate at which the full amount of compression is applied.
  • –Soft means there is a gradual increase from no to full compression as the input volume increases, while hard means the transition from no to full compression is instant once a predefined input level is exceeded.
81
Q

FL STUDIO - Fruity Multiband Compressor
Low, Mid & High Band Compressor Controls
Attack

A
  • 0.1 to 100 ms, controls the time it takes to reach full compression once the threshold level has been exceeded.
  • -Fast attack means that compression will be instantaneous, while slow attack means the compression is increased gradually, allowing for more variations in the signal than the fast setting.
  • –Attack should be adjusted according to the type of audio material you are using.
82
Q

FL STUDIO - Fruity Multiband Compressor
Low, Mid & High Band Compressor Controls
Release

A
  • 10 ms to 1000 ms, controls the amount of time the compressor takes to stop once the level has fallen below threshold.
  • -Short release times will make the compression more flexible and able to adapt to the input signal, but may cause fast changes in gain that may sound unpleasant.
  • –Longer release times produce a more even signal with less distortion, but make it harder to maximize the overall compression because small variations in signal level will be ignored.
83
Q

FL STUDIO - Fruity Multiband Compressor
Low, Mid & High Band Compressor Controls
Gain

A
  • From -∞dB to 17 dB, controls the amount of gain to be added or subtracted from the compressed output signal.
  • -The gain should be adjusted to normalize the signal amplitude after compression, or to control the amount of limiting.
  • –This parameter has an effect during Active and Bypass modes.
84
Q

FL STUDIO - Fruity Multiband Compressor
Low, Mid & High Band Compressor Controls
IN/OUT (Peak Meter)

A

-Below the peak meter, this switch () is used to display either the incoming or outgoing signal strength.

85
Q

FL STUDIO - Fruity Multiband Compressor
Low, Mid & High Band Compressor Controls
C (Compression Meter)

A
  • Displays the amount of gain reduction.
  • -Hover your mouse pointer over the peak meter and look at the Hint Bar to see exact values.
86
Q
A

6 NC-M7-FLMANUAL (29 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions