Dynamics Wrap up
Lesson 28 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Dynamics Wrap up
Lesson 28 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
28. Dynamics Wrap up
Lessons
Introduction and Welcome to this Class
00:52 2Project Organization
09:47 3Faders and Panning
11:13 4Flex Pitch - Vocals
05:18 5Flex Time - Vocals
03:05 6Editing Studio Drums
09:29 7Song Mix Deconstruct - Mixing Drum Kit Designer
08:04 8Mixing Files
01:50Tips to Start a Mix
02:11 10Mixing vs Mastering
02:19 11Introduction to Mixing with Logic Pro's Audio Effects
00:47 12Channel Strip and Routing - Part 1
04:39 13Channel Strip - Part 2
07:00 14Bussed Effects
11:25 15Gain Staging Audio Tracks and Pre Fader Metering
11:44 16Gain Staging Software Tracks
03:45 17Mixing with Channel EQ
19:57 18Mixing Vocals with Compressor - Part 1
08:25 19Mixing Vocals with Compressor - Part 2
06:44 20Compressor Circuit Types
13:07 21Compression - Distortion and Limiting
10:47 22Sidechain Compression
06:37 23Compression - Part 5 (Glue)
02:52 24DeEsser
12:03 25Multipressor - Part 1
09:31 26Multipressor - Part 2 (DeEss)
06:11 27Multipressor - Expander
07:33 28Dynamics Wrap up
09:05 29Compression with Flex Pitch
04:49 30Exciter
05:03 31Noise Gate
04:14 32Noise Gate - AHR
07:16 33Noise Gate - Hysteresis
02:07 34Chorus
06:04 35Introduction to Automation
09:44 36Touch Automation
03:46 37Trim-Touch Automation
05:28 38Relative Touch Automation
04:34 39Automation Curve Tool
04:09 40SilverVerb - Part 1
18:11 41SilverVerb Modulation
02:57 42Sample Delay and HAAS Effect
05:29 43Delay - Echo
09:35 44Stereo Delay - Part 1
14:25 45Stereo Delay - Part 2
04:00 46Stereo Delay - Part 3
08:24 47Tape Delay - Part 1
13:29 48Tape Delay - Part 2
05:07 49Thanks and Bye
00:07Lesson Info
Dynamics Wrap up
Hi. In this video, I just wanted to wrap up and explain a bit more about the processing that I've done on this vocal track. Let's close the multi press of for now and uns solo, the vocal track and have a listen to it in the context of the mix. OK. So all I'm gonna do now is turn up the gain at the end of the chain here, it's just a little bit quiet. Suffer to. Ok. So I think it's actually sitting pretty well. It comes out pretty clean even though it's not very clean at all in the context of the mix, it's sitting quite nicely and that's without any reverb or any sense or any modulation for thicken up the vocal at this point. All I've done so far is just cleaning some EQ tone shaping with EQ and some dynamics. As you can see, I've got quite a few compressors there, but that is not to say that you need to use that many compressors. I personally, I like to use a lot of compressors each doing really gentle amounts of reduction and some of them just are different flavors of compression like ...
we talked about before. So just to kind of explain what they're all doing, the three plugins that Thomas already had here, I bypassed and I left them there so that we can always go back to Thomas's plugins if we wanted to. So I just left them there but bypassed them at my own gain stage for initial level setting. So that was just trying to get the balance in because also Tom has had some fader automation going on. I do wanna touch that even though I have bypassed that now. And then I used ad ser so this was to control the sibilant in his performance, which has been mostly uh useful. So far, I might even go on to add another D ser just to control the sibilants just a little bit more kind of like with compression. I like to solve these problems over multiple plugins so that I can bypass them and just have a bit more control about how I handle the problem. So let's listen to the signal with and without the DS A Yeah, great. So it's controlling the sibilant quite a bit, but it's definitely not too noticeable. And the good thing about having the DSA early in the chain, at least for this vocal is that it controls those sibilants before general tone shaping and compression happens after that. Because if you've got massive sibilants poking through the signal, it might trigger the compressor later on and make it behave in ways you don't want it to. And then we have a multiband compressor. So this one is controlling more sibilants on the top end here is controlling the mid to upper midrange here of the vocal, just the general dynamics of the vocal there. This band isn't really doing anything and this lower end band here is actually gating lower end rumble. So we actually used the expander for that. So when the signal falls below the threshold, it turns it all the way down. It just helps because this one has some low end rumble, which it's eliminating when he's not singing. And then after that is some EQ, now, one thing that should be noted here as well is that even though this is the order of my plugins, it's not necessarily the order in which I put them on sometimes I, for example, I use the DSA quite late. It was one of the last things that I did in this one just because I wasn't bothered about solving that problem immediately, but I knew that I had to solve it at some point. And then after I got my general sort of sound down with EQ and compression, I put a DS R on early in the chain to control the sibilants. So the EQ as you can see here is being used to turn down a lot of the low end content of the vocal there. And as well as notch out some problem resonances in the vocal performance there. And general tone shaping as you can see here. So a boost at a high end, a dip at a 2.5 K mark and then a bit of added warmth here after I did the high pass filter here as well. And I made sure to use the output gain to make sure that the output of the EQ is the same loudness as the input. Let's actually listen to the vocal rhythm without the EQ the so to, to. So OK. OK. So it's quite subtle when you listen to it in context of the mix. But what I can hear is less of those problem frequencies in general. And I just think the tone is just overall better with the EQ on. And then after that, lots of sort of gentle compression. So it explains the compression in one of the previous videos of this section. So what I'm actually gonna do is just bypass the entire chain and then un bypass it just so you can hear the difference between the chain on and the chain off. So let's do chain off, chain on. OK. So chain on is actually a bit louder. So that's not necessarily fair, but it is generally a thicker sound more consistent with less spiky resonances in the performance when you are comparing, try and keep the gain consistent throughout the chain, which isn't always easy, especially when you use so many different plugins. On the single chain. But all you need to do is for a quick solution to that is you could just turn down the output gain or the makeup gain on the fair loss processor to just try. OK, just going to turn down the makeup gain a bit more in the last one there and then turn up the gain after it so that the overall level is still good. So without the chain, OK. So it's at the right loudness now, but it's still thin and Sibilant suffer. Um cool. So with it on seems to me much thicker, yet less resonant and less Sibilant just generally sits better in the mix from here. I probably will make more refinements in terms of D sing and stuff like that. But at the same time, is that a good enough place for me to continue on with other elements in the mix such as using reverb and modulation to thicken up and to give more body to the vocal performance. Thanks for watching and I'll see you in the next video.
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