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[Video] Robert Babicz on mastering (pg. 3)
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| Lucidity |
| I thought so.....:eyespop: Good stuff there:stongue: |
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| hadi burpee |
| quote: | Originally posted by Lucidity
I believe this technique is called Parallel Compression? Many compressors have this built in, such as Fabfilter Pro C. Essentially there is a wet/dry mix, so you could do dramatic compression and just scale back the wet/dry mix. |
its called compression in series i think. try setting them up like this in series
insert 1. 30ms attack auto release 1.25/1 ratio 2 db gain reduction and 2db make up this catches all the high frequency transients taht might clip
insert 2. 45ms attack auto release 1.5/1 ratio and same as before. this takes care of the mids
insert 3. 75ms attack auto release 1.75/1 ratio . this takes care of the lows.
when done right it makes the track sound really nice and full. experiment with the attack times. not sure if he went over it in detail in the video.
also limiters are useful. you can set them at -.1 db and use a gain control and make it have like less than 1db of gain reduction and that shouldn't mess up the dynamics. mastering is just getting it loud with too much loss of dynamic range. but it depends what you want. |
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| echosystm |
| quote: | Originally posted by hadi ******
insert 1. 30ms attack auto release 1.25/1 ratio 2 db gain reduction and 2db make up this catches all the high frequency transients taht might clip
insert 2. 45ms attack auto release 1.5/1 ratio and same as before. this takes care of the mids
insert 3. 75ms attack auto release 1.75/1 ratio . this takes care of the lows.
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wouldn't the lower attack catch the bass more? seeing as in dance music the kick is the main thing.. while higher attack would catch the hats etc. in between. |
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| Lucidity |
| quote: | Originally posted by hadi ******
its called compression in series i think. try setting them up like this in series
insert 1. 30ms attack auto release 1.25/1 ratio 2 db gain reduction and 2db make up this catches all the high frequency transients taht might clip
insert 2. 45ms attack auto release 1.5/1 ratio and same as before. this takes care of the mids
insert 3. 75ms attack auto release 1.75/1 ratio . this takes care of the lows.
when done right it makes the track sound really nice and full. experiment with the attack times. not sure if he went over it in detail in the video.
also limiters are useful. you can set them at -.1 db and use a gain control and make it have like less than 1db of gain reduction and that shouldn't mess up the dynamics. mastering is just getting it loud with too much loss of dynamic range. but it depends what you want. |
Never seen or heard of this way, I will try it. And does anyone actually know the proper way to do this? |
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| BOOsTER |
I think it just can't work like that simple reason:
if you have two compressors in series, their ratios double...so if you have one let's say with 2:1 the other with 3:1 you end up with 6:1 compression...
with the numbers hadi ****** has given us you'd end with compression cca 3.28:1 which is a bit drastic for master, I think :) |
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| music2dance2 |
Been looking int parallel compression, it seems it different to using compressors in a series?
Im sure Ian carey is talking about the same thing here
[[ LINK REMOVED ]]
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| music2dance2 |
Thought I'd share this. Helped me understand more, especially the serial method which I intend to use 1st of all.
Parallel compression involves multing a signal and running one part of the split through a compressor, and blending it back with the original signal. A typical example would be taking some sort of drum submix, and compressing it fairly extremely, then blending some of that back with the original drum mix. It allows you to maintain the transients of the original signal, but add the greater "impact" of the compressed signal as well.
Serial compression involves putting two (usually different) compressors in series. A typical example might be on a vocal where you might use a faster compressor (like a FET or VCA) first, to tame some of the ruder peaks, followed by a slower one (like an optical). This way, the slower compressor has a smoother signal to work on, and won't pump or breathe, but you still get the character of both compressors. You can definitely achieve sounds with this method that you can't get with a single compressor.
Source click here
Also check this parallel video tutorial
http://www.mutantaudio.net/tutorials/parallel_compression_tutorial/parallel_compression_tutorial_ma.html |
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| Dj Nacht |
A trick for doing parallel compression in Ableton!
Route all the tracks you want to Beef up to sends only. Play around with the sends to get a good mix on the return track. Now drop a compressor on the return track and make it heavy and make sure the attack is set fast enough to clamp down on the transients. Turn the level of the return track down to 0 and route all your tracks back to master. Now slowly bring up the level of the return track and listen to everything get thicker without hurting the original sounds. |
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| BOOsTER |
| quote: | Originally posted by Dj Nacht
A trick for doing parallel compression in Ableton!
Route all the tracks you want to Beef up to sends only. Play around with the sends to get a good mix on the return track. Now drop a compressor on the return track and make it heavy and make sure the attack is set fast enough to clamp down on the transients. Turn the level of the return track down to 0 and route all your tracks back to master. Now slowly bring up the level of the return track and listen to everything get thicker without hurting the original sounds. |
I think I've already mentioned that :conf:
oh I kinda understand the serial compression now, I think, the ratios of the compressors won't multiply because each of them is active at different time? :) |
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| ponsshin |
Excellent video and great compressor trick here!
I love his music too ;) |
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| Dj Nacht |
| quote: | Originally posted by BOOsTER
I think I've already mentioned that :conf:
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Yup but you asked if someone could explain a bit more! I tried atleast |
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| BOOsTER |
| oh I am sorry! :) |
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