Compression
When I started studying the compressors have been irretrievably lost. The terminology is almost trivial, technical and I could not heads or tails of what is written. To simplify things, I think that compression as predictable as a way of evening the shares of a strong, sweet voice or instrument, so that his behavior is a bit 'more. In other words, compression tames really really strong points and soft spots, sonot always reach the volume knob on the mixer (or virtual console in your DAW). In its simplest form, a compressor, if a hardware unit or a plug-in, the audio thereby squeezing its ups and downs are less pronounced. This allows things like bring the volume of the compressed track without fear that the softer parts are lost, maintain, or call the volume without fear that the strong steps they blow out. It might be useful to think of all theCompression options (Attack, Release, Ratio and Threshold), as ways to make the sound more or less aggressive squeeze. Leaves no traces of sufficient compression that go directly from a mixture lost at times inappropriate, or in the sound of other instruments, but too much compression can make a track sound lifeless and uninspired. My rule is to be less aggressive compression of audio on the way back to your DAW (for you are with, what to put) and more aggressive with my plug-inCompression (as you can always choose to run).
EQ
While a wonderful (and necessary) tool, EQ, probably the fastest way to mess up the sound of a mixture. The excessive use of EQ is second only to Hall of often as a sign of an inexperienced engineer mix. EQ should be used to subtly (or not so subtle) color the sound of each song that you are working so well that it covers and leaves room for other tracks in a mix of his own. My experience is thatis what you draw, not what makes you work better EQ. For example, even if you are looking for a boost in the high frequencies of a track, it is often more effective, by a few dB lower frequency, which in turn eases to pull the sound.
Singing voice compression on the way
Because of the voice (despite what your guitar friends might say) is the most important element of any popular music to mix, start here. Get a vocal sit well in a mix is aCombination of compression, EQ and fader automation often. This is a fairly common practice, a voice to compress a little 'his way into your DAW. This should not be an aggressive type of compression, but far enough to get some of the strongest parts of the song, so that the entire recording volume can tame hot.
A voice in my chain approach to study is as follows: Microphone preamplifier Hardware / compressor and then directly into my DAW. To enter the key part, Iusually set my hardware compressor attack settings about 30 ms, and release settings of about 1 second and my compression ratio of 3:1. Then I play with the threshold to ensure that during the hottest parts of the song, the gain reduction to a maximum of-3dB. This gives me the space to further compress the mix, with a plug-in software compression. The risk of compression is too aggressive on the road that you have locked up at the end with the vowel sound compressed without excessiveWay to change it.
The voice compression in the mix
Once the voice in the mix, I've got a plug-in compressor to keep the voice in the mix without skipping too many steps aloud. My recommendation would be a compressor, a regular and transparent sound that the voice has allowed just squeeze a little 'more (about-3dB of gain reduction in volume), it claims that the song has found its presence. I and my attachment to my 26msRelease of about 300 ms. For more details, check out my voice in the General settings screen shot on the right side. If the mix is a powerful, where the voice is cut a little 'shine more and show a little' more, I have a compressor specific frequency (such as waves on C4 "Vocal Pop" setting), which is a little 'more precisely in terms of frequencies decide to compress. In this case, 40Hz, 500Hz, 6 kHz and 16 kHz. To see exactly how the attack and releaseSettings for each frequency, you take a look at the screenshots listed below.
Vocal EQ
I rarely, if ever, EQ, my singing on the road in a good vocal sound is not colored in such a way that, when it's time to come to fill the final mix, I have flexibility with the non-voice sound like EQed to work. This is especially useful if you are tracking an item to start with a single instrument like acoustic guitar, but at the end of mixing, complete with a band. EQ choicesshould not be taken in a vacuum. In the final analysis is the relationship of the voice with all the other elements of the mix, the EQ-determined approach. Often, a voice EQ, who works in a mixture is not particularly good when the voices are just. As I said before, my preference is for cutting EQ at certain frequencies than the contrast medium.
Here are some cases where the cutoff frequencies can fix common vocal problems:
Muddy or ringing voice - In this situation, Itend to attract one or two dB at 200 Hz This also has the effect that the cut through a mix of voice sound better or brighter. Vocal piercing or painful - Here I'll take a few kHz to about 3 dB. This tends to remove the board without taking up the vocal clarity.
Here are some cases in which the frequencies of good taste is always more useful:
Bringing out the bottom in a vowel - add 1 or 2 dB of gain between 80Hz and 100Hz Add brightness -Occasionally, when a vowel sound just a little 'too dark, or indefinite, I gain a few dB at 5 kHz Add Add or breath - I'm here a shelf EQ, use all the frequencies increased to 12.5 kHz
Shelves
On a shelf EQ, a frequency band is in the high or low of the spectrum is increased or reduced by a fixed amount. The term bay usually not in a mid-range boost-cut on or off.
Acoustic Guitars
While working as an engineer inNashville, I spent much time recording microphones and acoustic guitars. Although different systems have steadily improved pick-up installed in acoustic guitars, I still believe that there is no substitute for a well-placed microphone (or microphone), when it comes to capturing the warmth of the body and in the air of an acoustic guitar is . However, as with all acoustic instruments, is a challenge for the right to sit in a mix and the preservation of their structure and character, but also to mingle with othersTools. There are some approaches to compression and EQ do much to address this problem.
Compression of acoustic guitar on the way
During compression, acoustic guitar on the road to my DAW, I think it's better to have a little 'more aggressive attack and release settings, as you would with a solo voice. I'm using a coupling medium speed (about 22ms) and release (500 ms) of a compressor hardware with a 3:1 ratio and thenPlay with the threshold control until the gain is still attenuated by about -3 dB.
Compression of acoustic guitar in the mix
At this point it's a good idea to check the compression settings based on the type of mixture. If there is a simple acoustic guitar and vocals, it is quite possible, leave all the compression on the sound. However, if there is a mix of full band, and I want to make sure you can hear the acoustic strumming or fingerpicking well below the otherTools, I have a compression plug-in (like Metric Halo Channel Strip) and squeeze a little 'more aggressive: 16ms attack and 160ms release with a ratio of 3.5:1. Take a look at my settings.
Relationship
A compressor reduces the audio signal of the gain (level) if the amplitude exceeds a certain threshold. The amount of attenuation is determined by the relationship. For example, a ratio of 4:1, when the input level is 4dB above the threshold, the compressor of the processSignal so that the output level is 1dB over the threshold. Thus, the gain (level) reduced by 3 dB.
Acoustic Guitar EQ
Very similar to sing, I do not EQ acoustic guitar, while I am registering to believe just because rarely know what the other elements of the mix. However, there are two approaches that I use for very specific need of an acoustic guitar, depending on whether or not it is accompanied by a vocal performance or a part of a broader mix. GenerallyRegard, the EQ is the more subtle approach in the simple guitar / vocals sound fuller sound and more aggressive to get the full band mix, to make room for other instruments, but the essential elements of acoustic sound.
Here are some EQ settings for a simple acoustic guitar and voice recording:
Remove rumble - I like to draw 1 or 2 dB at 125 Hz, to roar, a sound that often accompanies remove miking too close to the hole. Add Sparkle - When, after the removal of some of the thunder, I'm still looking for more sparkle to the sound, I have one or two dB increase at 5 kHz.
Here are some EQ settings for an acoustic guitar in a band full of registration:
Add Clarity - I found that a high-pass filter to 120Hz makes room for kick and bass in a mixture and simultaneously the sound to shine at higher frequencies. Leave in the lower parts of the acoustic frequency is often muddy and the mixhide it, kick drum and bass. Even the mud? - Do not be afraid to take your high-pass filter to 200Hz or 300Hz, when the guitar is not even cut the mix. It may sound horrible solo, but perfectly into the mix and this is the key. Add Sparkle - As above, when cutting low frequencies is not always sufficient for the audio is cut from a mixture of two or three dB at 5k is a lot to do with the strings strummed or finger-picked acoustic.
Compression andEQ are two very powerful weapons arsenal in the mix, but nothing bad, over-exploitation than good. I remember the words of an engineer whose work I respect very much who was fond of saying. "I want to compress them until she sucks and then again from there" In other words, know when to say "when" is a useful skill as well. A final thought ... if the signal is concerned, I tend to EQ after compression rather than because EQ effectively increases or decreases the volume of the track, and II found a more effective response received from the compressor when I hit it with the audio EQed. I would recommend using the above settings of EQ and compressor are not as fast rule, but rather as a starting point. Every mix is different and your ears will tell you what works and what does not.
Good luck!
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