Multipressor - Expander
Lesson 27 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Multipressor - Expander
Lesson 27 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
27. Multipressor - Expander
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
Multipressor - Expander
Hi. In this video, I'm gonna show you multi presses expansion capabilities and how they can help you clean up a vocal track or any other track for that matter. So this multiband compressor that I'm already using is helping me control a few things in the vocal performance like the Sibilant up in this band. So let's have a listen to that for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying. Ok. So I've got the very top band here taking care of some Sibilants and just generally controlling the top end. I've got some compression happening on this band here, which is just generally where most of the vocal energy is for the briefest of moments. I feel like I'm flying just generally controlling the overall body of the vocal. This band here is not doing much for the briefest of moments. I feel like I'm flying. Ok. So that's barely doing anything, but I did intentionally bypass this band so that no compression was applied to this band because I...
wanted to solve the problem of the bottom end in a slightly different way. So if we actually soloed this band and have a listen to that. I don't have a gate on at the moment. I did have one set up before, but I turned it off because I wanted to do it a different way for the briefest of moments. I feel like I'm flying. So as you can hear, uh you can hear some like bleed from the kick drum and just general low end rumble there. And what I'm actually gonna do is use the expander to turn down the signal when he's not singing, but not turn it down when he is actually singing. Because as you can hear in that band, we can hear both some low end rumble that we want to eliminate, but also the bottom end of his vocal, which we don't want to eliminate. We don't want to hurt the vocal performance, but we want to eliminate the problems. So that's why we're gonna use an expander. So an expander like a gate turns down the signal when it falls below the threshold. So like a compressor when the threshold is exceeded, when the signal goes above the threshold, the compressor turns it down a downward expander like we have available to us in each band of the multi pressor turns the signal down when the signal falls below the threshold as opposed to above. So what we need to do is assign the threshold so that it's above the noise we want to eliminate. But below the signal we don't want to eliminate. So I'm gonna start with moving the threshold. So this slider here is the expansion threshold and this slider here, which we're not using in this band is the compression threshold doesn't really matter where I pull it. Cos right now, the compression ratio is up one. So that's basically no compression. And I'm just gonna focus on this band here. So I'm gonna start at minus 30. I'm gonna un bypass this band now and now what I do is turn up the ratio. Ok. So we're gonna need to lower this threshold quite a bit because the signal wasn't even exceeding that threshold when he was singing for the briefest of moments. I feel like I'm flying. So now that we've found what is probably a good threshold to start with, I'm going to turn down the reduction here. So this basically just reduces the band when the signal falls below the threshold for the briefest of moments. I feel like I'm crying all the briefest of moments. I feel like I'm now going to refine the threshold. Mhm. Ok. So it's cutting too much into the vocal there. So I'm gonna turn it down a bit for the briefest of moments. I feel like I ok. So it's a bit too pumpy. So I'm gonna turn down a reduction. I don't need to turn it all the way down. I just need it to be enough. All the briefest of moments. I feel like I'm trying the briefest moment I feel like so let's compare that to bypass now for the briefest of moments. I feel like I'm flying for the briefest moments. I feel like I'm flying. Let's go with a bit more reduction. Ok? That's fine. I'm just gonna turn down the ratio now just so it's not so aggressive and so pumpy all the briefest of moments I feel like I'm crying. All the briefest of moments. I feel like I'm crying. All the briefest of moments. I feel like I'm flying. All the briefest moments. I feel like I'm flying. All the briefest moments. I feel like I'm flying for the briefest of moments. I feel like I'm trying. So when the bypass is off there, you can quite clearly hear that there's basically nothing until he starts singing again. Let's uns solo this band and see how it's contributing to solving the problem for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying. Ok, cool. So it's turning down that low end rumble when he's not singing, but it's not applying any game reduction to his voice in that band. So it's pretty much solved that problem in terms of that low end rumble. In the way that I wanted it to. So that's how we use the multi pressors expansion capabilities to reduce problems in a vocal track. Thanks for watching and I'll see you in the next video.
Class Materials
Bonus Materials