Tip:
Highlight text to annotate it
X
In this video I'm going to be demonstrating a conventional way to use
multiband processing to compress across your mix buss for a typical pop rock
song. I've got C6 inserted on my first slot on my mix bus and I'm just
going to do is play you back the song so you can hear how it sounds. The
way that I like to typically get set up when using the processor is to
start out by picking the frequency divisions of the channels I'm going to
be using. I start out from the bass and work my up until the low mids, the
high mids and finally the highs.
To do this, I like to start on a part of the song where I have all the
instruments going. So, I'm going to switch over here from past the
introduction to the next part and solo the low frequencies. What I want to
do here is find the frequency division where I basically go up and include
as high a frequency as possible for basically just the kick drum and the
bass. Tighten the queue a little bit. Here I'm starting to get some piano
acoustic guitar that's too high. That's great.
Next, I'll go up to the next frequency band. This is the low mids. Again,
I'm looking for kind of the rhythmic elements of the track, things like
piano and electric guitar that are going to be part of this frequency band.
Next, my high mids is where the acoustic guitars and cymbals are really
located. Finally that really high brilliant or sparkle part of the track
and I'll usually just start off by focus on these four bands before I even
get into the floating ones that are part of C6.
Now, right now I don't have any compression actually going on. What I need
to do is change the threshold, change the ratio and change
the range. So, what I usually do is start out with compression about three
dB decrease as the maximum possible, but the low frequencies, I'll use a
slow tack time and I'll use a kind of longer release as well. Focus on this
one to begin with. Next up, the low mids. For this one I'll use a slightly
faster attack, slightly faster release. High mids and we'll do a fast
attack or a faster release. Might have a higher range here, but set the
threshold so it's not going to maximize the decrease very often.
Finally, the really highs, very fast tech, very fast release. Bring the
threshold down and then what you can do is listen back and then you kind of
use the gain as an equalizer over these different ranges. So, what I've
basically done now is just set up a simple compressor across the full mix.
What it's going to do is really control the level of the overall song and
just add a subtle effect on it, nothing too dramatic just by using these
four bands of compression.