Protools Yamean Flashcards
General Dynamics Processing Tips
Full mix: Try 1.1 to 2.0 ratio values. It is possible that certain pieces of music, such as club tracks, might benefit from higher ratios.
General Maximizer Tips
Don’t set the Ceiling above -0.3 dB. Technically, you can set the Ceiling to O dB so that the output of Ozone is maximized to the point of clipping-but there is a good chance the sound will distort when played through a consumer playback system. When mastering for compressed audio formats like AAC and MP3, it’s a good idea to set the Ceiling between -1 dB and -1.5 dB to prevent clipping due to file compression.
General Maxixmer Tips
Always listen to the music before and after the limiter in a level-matched way, just to be sure you are not causing unwanted artifacts. Remember, when the “Auto-Match Gain” feature is on, Ozone will automatically volume match any A/B listening comparisons that you do.
General Stereo Imaging Tips
You can generally do more widening of higher bands, as opposed to lower bands, without destroying the clarity of a mix.
General Stereo Imaging Tips
One trick is to automate the widening of a mix-i.e. widening the mix on a chorus, then tightening it back up for the verse.
What’s a good way to eq?
Cut narrow & boost wide
•what should we do to the low ends?
Low cut the low ends so the base can kick in the mix
It’s always good to ….
Cut annoying frequencies rather then boost the annoying ones
Mixing Tip #1: Get it right at the source
-Have good initial quality of sounds
-(If a good chefs ingredients suck, it won’t taste good)
Mixing Tip #2: Get
Balance right first
-80% of the mix comes from the volume balance
-Spend time with volume balancing
Mixing Tip #3: Time is of the essence
Spend time preparing the mix (mix while working), so that there is minimum mixing at the end.
Mixing Tip #5: Loop the
loudest part first
Start with loudest part of the song
Mixing Tip #21 : Audio
compression
-Dynamics are good. But remember that you’re trying to get a consistent level in the mix.
-If something is too loud it’ll sound out of place, and too quiet will get lost in the mix.
-Using too much compression messes with your mix
Mixing with EQ’s
-Use notches for unwanted frequencies
-Low mid area has a lot of muddiness
-Have a loose LP filter for kicks (not too much, add a sharp HP filter to kick.
Mixing with EQ’s
-Don’t overdue master track
-Don’t EQ vocals too much, HP
filter
-Can add very high peak filter (thin), for a tonal resonance effect
Mixing with delays
Can be used to widen sound, add rhythm.
-Gives groove when you add triplets for a swing/hemiola effect
Mixing drums
- Drum bus (Add plugins to all of them)
- Spend plenty of time balancing levels (You can start by having them all at the bottom)
3.Use EQ to take excess noise/ unwated freq., add resonances, but don’t take too much freq. - EQ and compress the whole drum bus
- Use EQ and compression on individual tracks
Knee
How hard compression is applied
Attack
How fast compression is applied once the signal passes above the threshold
-Fast attack means that
compression will be more or less instant.
-Slow attack results in the compression being gradually increased, allowing for more variations in the signal than a fast setting.
Release
How fast the compression is stopped once the signal passes below the threshold
-Short release times will make the compression more flexible and able to adapt to the input signal, but can cause fast changes in gain that may sound unpleasant.
-Long release times produce a signal with a more even level and less distortion, but make it harder to maximize the overall compression because small
What is the difference between hard and soft knee?
Hard knee compression is more defined and aggressive than soft knee compression which is softer and more gradual
What compression is required on VOX? Include attack speed, release, knee and ratio
Fast attack
50ms release
Soft Knee
2:1 to 8:1 ratio
what compression is applied to Drums?
Include attack speed, release, knee and ratio
1-5ms attack
20ms release
Hard Knee
5:1 to 10:1 ratio
What compression is applied to mixes? Include attack speed, release, knee and ratio
Fast attack
40ms release
Soft Knee
2:1 to 6:1 ratio
Desser:
Click on the Load button and select the “Male Ess” factory preset. This sets the SideChain frequency to 4500 Hz, the frequency around which typical male voice ‘esses’ lie.
Desser
Drag the threshold down until the ‘esses’ are sufficiently attenuated. Attenuation takes place when the threshold slider is below the peak of the blue-bar meter (energy detector).
The red-bar meter shows the instantaneous gain reduction applied to the audio (in dB).
An infinite-peak-hold feature displays the highest level of attenuation
Desser
To fine-tune DeEsser, click the Monitor button to SideChain mode. Now you can listen to the SideChain. Choose which SideChain filter mode you require from either HighPass or BandPass. The HighPass filter mode is suitable for attenuating a full range of ‘ess’ sounds. The BandPass filter mode is suitable for isolating and attenuating a specific narrow band of high frequencies.
Desser:Thresh
Adjusts the level above which attenuation takes place in the SideChain. To adjust the threshold, click and drag the slider down until the ‘esses’ are sufficiently reduced. NOTE: lowering the threshold too much will result in a muffled sound (i.e. too much attenuation).
Desser:Audio
Toggles between Wideband and Split compression modes. In Wideband mode, attenuation is applied to the entire audio band. In Split mode (i.e. the audio is split into low and high frequency signals), attenuation is applied only to the HighPass signals.
Desser:Frequency
Sets the frequency level in the SideChain filter using a value window control
Desser:SideChain
Toggles between a HighPass and BandPass filter. The HighPass filter ‘looks at’ all the frequencies above the set frequency, the BandPass at a narrow band around the set frequency
Desser;attenuate
Instantaneous gain reduction (attenuation) applied to the audio signal (in dbs)
When should the SideChain be in BandPass mode?
In general, the BandPass filter is used to isolate one type of cus. The BandPass filter
“looks’ at a narrow range of frequencies. The ‘ess’ sound in “Sweat” carries most of it’s energy around the 6kHz mark (male voice). In “Sugar” most energy lies around the 4kHz mark (also male voice). Use the BandPass filter if you only want to reduce one ‘ess’ and not the other.
When should the SideChain be in HighPass mode?
If you have several different types of ‘ess’ noises you wish to reduce, the HighPass filter is recommended. DeEsser responds better in HighPass mode when applied to, for example, a vocal track containing a variety of ‘ess’ frequencies and vocal inconsistencies. NOTE: the HighPass filter increases the chance of compressing other high frequency sounds such as strings and high-pitched instruments.
Is it possible to over DeEss?
Absolutely! If your singer starts sounding as if you have removed their two front teeth, then the Threshold is too low! Adjusting the amount of de-essing is subjective - just listen and use your judgement. When the voice sounds more natural and the ‘esses’ are not overpowering, that is enough!
DeEsser Plug-in Manual
