Protools Yamean

Question 1

General Dynamics Processing Tips

Answer 1

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.

Question 2

General Maximizer Tips

Answer 2

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.

Question 3

General Maxixmer Tips

Answer 3

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.

Question 4

General Stereo Imaging Tips

Answer 4

You can generally do more widening of higher bands, as opposed to lower bands, without destroying the clarity of a mix.

Question 5

General Stereo Imaging Tips

Answer 5

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.

Question 6

What’s a good way to eq?

Answer 6

Cut narrow & boost wide

Question 7

•what should we do to the low ends?

Answer 7

Low cut the low ends so the base can kick in the mix

Question 8

It’s always good to ….

Answer 8

Cut annoying frequencies rather then boost the annoying ones

Question 9

Mixing Tip #1: Get it right at the source

Answer 9

-Have good initial quality of sounds
-(If a good chefs ingredients suck, it won’t taste good)

Question 10

Mixing Tip #2: Get
Balance right first

Answer 10

-80% of the mix comes from the volume balance
-Spend time with volume balancing

Question 11

Mixing Tip #3: Time is of the essence

Answer 11

Spend time preparing the mix (mix while working), so that there is minimum mixing at the end.

Question 12

Mixing Tip #5: Loop the
loudest part first

Answer 12

Start with loudest part of the song

Question 13

Mixing Tip #21 : Audio
compression

Answer 13

-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

Question 14

Mixing with EQ’s

Answer 14

-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.

Question 15

Mixing with EQ’s

Answer 15

-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

Question 16

Mixing with delays

Answer 16

Can be used to widen sound, add rhythm.
-Gives groove when you add triplets for a swing/hemiola effect

Question 17

Mixing drums

Answer 17

1. Drum bus (Add plugins to all of them)
2. 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.
3. EQ and compress the whole drum bus
4. Use EQ and compression on individual tracks

Question 18

Knee

Answer 18

How hard compression is applied

Question 19

Attack

Answer 19

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.

Question 20

Release

Answer 20

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

Question 21

What is the difference between hard and soft knee?

Answer 21

Hard knee compression is more defined and aggressive than soft knee compression which is softer and more gradual

Question 22

What compression is required on VOX? Include attack speed, release, knee and ratio

Answer 22

Fast attack
50ms release
Soft Knee
2:1 to 8:1 ratio

Question 23

what compression is applied to Drums?
Include attack speed, release, knee and ratio

Answer 23

1-5ms attack
20ms release
Hard Knee
5:1 to 10:1 ratio

Question 24

What compression is applied to mixes? Include attack speed, release, knee and ratio

Answer 24

Fast attack
40ms release
Soft Knee
2:1 to 6:1 ratio

Question 25

Desser:

Answer 25

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.

Question 26

Desser

Answer 26

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

Question 27

Desser

Answer 27

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.

Question 28

Desser:Thresh

Answer 28

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).

Question 29

Desser:Audio

Answer 29

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.

Question 30

Desser:Frequency

Answer 30

Sets the frequency level in the SideChain filter using a value window control

Question 31

Desser:SideChain

Answer 31

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

Question 32

Desser;attenuate

Answer 32

Instantaneous gain reduction (attenuation) applied to the audio signal (in dbs)

Question 33

When should the SideChain be in BandPass mode?

Answer 33

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.

Question 34

When should the SideChain be in HighPass mode?

Answer 34

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.

Question 35

Is it possible to over DeEss?

Answer 35

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