Multipressor - Part 2 (DeEss)
Lesson 26 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Multipressor - Part 2 (DeEss)
Lesson 26 from: Music Production in Logic Pro X: Vocal Mixing EssentialsTomas George
Lesson Info
26. Multipressor - Part 2 (DeEss)
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 - Part 2 (DeEss)
Hi. In this video, I'm gonna show you how you can use multi pressor to control sibilants in a vocal recording. So here I've got the multi press already set up. I've already done a bit of compression on this band here just to control the dynamics of the kind of body of the vocal there. And what I'm gonna do now is when I set this up, I managed to pretty much isolate a lot of the Sibilants to the high band here, which I've just soloed. So let's have a listen to that for the briefest of moments. I feel like I'm flying. So as you can hear the sibling is very prominent in this band, but the good thing is as I've isolated this band, I can actually compress just this band. So it's only turning down the sibilant without affecting any of the content in the frequencies below it. So I'm just gonna keep that on solo for a minute and dial down the threshold. Let's have a look at the ratio first, which is at two right now. I like, I like to start with 1. and I'm gonna keep the attack low actually an...
d keep the release low and then refine it from there. Let's start reducing. So just dial down the threshold for the briefest, the moments, I feel like I'm flying for the briefest of moments. I feel like I'm flying. Ok. So you can actually see it pumping down there and you can quite clearly hear it as well. This is obviously a very extreme setting. So I'm just gonna refine it from here 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? So it's not really doing much for me until I bring the threshold really low like this like down to minus 57 decibels for the briefest of moments. I feel like I'm flying. Ok? So at that threshold, it's definitely catching what I want it to catch. I just need to refine now the ratio because when I get to exactly what I want in terms of threshold, I do find the compression a bit too aggressive. So I just need to turn down the ratio a little bit just to reduce the amount of compression that happens above the threshold for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I and what I'm actually gonna do is turn up the peak slash R MS value so it doesn't move so quickly. And so abruptly again, like I said, when it's tracking an R MS value as opposed to a peak value, it's gonna be more in accordance with how we hear the loudness of a sound as opposed to it tracking just the peak amplitude value of the waveform. 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 for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying. OK. So that certainly helped refining the peak slash R MS value again, slightly more towards the peak just allowed it to be a little bit more responsive to the sibilants like I needed it to be. So I'm actually gonna do now is uns solo this and see how that sounds across the whole vocal performance for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying. Ok. So it's definitely controlling the sibilance there. And what I'm actually gonna do as a last minute adjustment is just turn this band down. So this is actually the makeup gain. But for this, I'm actually just gonna use it as a sort of gain of that frequency band there just to turn down the tops a little bit 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. So you hear a difference there when I toggled the bypass of that band for the brief is the moment of for the briefest of moments. I feel like I'm flying. So the siblings are ever so slightly darker when I don't have it on bypass when the compressor in the very top band is working. Ok. So those are different ways that we can use the multiband compressor in logic to tame vocals or tame other instruments in a mix. Sometimes you only need to compress the low end so you bypass all the other bands and just compress the low end or sometimes you just need to tame the body of the vocal performance and not touch or not compress bands above or below. It. There are many reasons to use multiband compression and one of them is just simply a more transparent version of a normal compressor. Thanks for watching and I'll see you in the next video.
Class Materials
Bonus Materials