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Comments
Limiting is horizontal killing of that signal, which is not necessary good on sloping signal. In this case, the killing of clipping on drum part.
You get to use soft method, Pro-MB band has 0 to 48db filter reduction to remove part of signal spectrum, it dynamically adjust both frequency sloping of that particular part with your eyes to monitor all part of the spectrum.
Clipping is not necessary. Mix at a lower level, increase it at the end if it's a problem. Proper gain staging is always important. I can't emphasize that last sentence enough. You can compress/ limit your kick at a lower volume and make it sound full. Turn up your monitors if it's too quiet for you.
Well, it's kind of a basic experiment, the Ipad on the table, with headphones, there's a voice, now, can it be isolated or better refined, i.e. accentuated or distilled from the ambient atmosphere, the grains of the molecules, the air?
Or the same on iphone, with the expander in aufx:push.
Ha ha... No. I haven't yet. Spent enough money this week.
After initially being a bit down on Volcano (I tried filtering some drums and I wasn't getting anything special) I have now grown to love it. On a big Wolfsburg pad it is a joy to use - 2 filters doing 2 very different things to the pad, one on the side and one in the middle. Full joy.
Pro Q is also just so useful. I'm putting it on every track.
Thanks also for your tips on backing up and loading in projects. I reinstalled Auria and got the IR files back. I also found you can import all your separate gadget wav tracks from straight from Dropbox in one hit. So no need to go via Audioshare at all and you can avoid audio copying individually. It works a treat.
Bought Timeless 2, so hope Auria behaves itself. Just had a whizz through the presets - absolutely stunning sounds, by far the best echo n my iPad.
Thanks guys. @syrupcore I know I've bothered you on this matter before on a previous thread.
I cant seem to get the kick to at all loud enough in the final mix through compressing it with ProC (most probably because I don't know what I'm doing). If I turn up the output in pro C it clips.
I can't EQ it up in the final mix because then all the bass synth stuff around it comes up as well and sounds really boomy (and muffles the kick). I've already scooped out the bass track EQ at the same frequency by the way.
I figure that pushing the level on the kick drum channel strip can, at worst, distort the kick drum, right? But then in a drum and bass track is a slightly distorted kick drum really a big problem? Everything that comes out if Elastic drums sounds like that
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Turn everything else down and voila, kick drum is loudest, then turn the overall volume up later. That's why there's never a need to clip anything with level. At some point, things can't get any louder.
Instead of compressing the life out of your kick, you can try layering it with a pitched (tuned) sub-bass, if you haven't already.
You could also cut some low frequencies out of everything but the kick drum and bass to give them some space. You do this in Pro Q with the Low Cut or in PSP ChannelStrip EQ with the top left knob . And then if the bass and kick drum are clashing you side chain compress the bass with the kick as the side chain input.
First, what mrufino1 said. 100%.
Second, try soloing the kick and looking at it on a spectral meter. If the kick isn't coming through, the part you want to scoop out of the bass is the attack frequency of the kick. Well, start there anyway. You might find that you need the scoop the mids out of the kick instead (which will allow you to simply turn the bass down, leaving more room for the kick's attack).
Third, on your kick compressor, play with extending the attack time to allow more of the click portion of the drum sound through. With higher attack times you can get away with more extreme ratios.
Fourth, mute the bass and the kick and have a look at your remaining mix frequencies. Are you sure the bass is the only thing in the way? Especially with big sounding synths, it's easy for other stuff to clash down there.
Sometimes, instead of excessive EQ on your main tracks, it sounds better to duplicate the kick track and get rid of everything but the click portion on the duplicate and then mix that in to taste. You can get rid of the non click portion with aggressive HP and LP filtering and perhaps a gate. With electronic music, you can always change the kick sound at the source and/or duplicate the track using a super clicky kick and mix them together.
None are 'the way' by any means but these are the things I find myself doing to get a kick to pop.
The D Esser might help with the hiss. Not sure, and it's an expensive experiment.
Just picked up Volcano. Couldn't help myself. Just have MB and G left, I don't need the D Esser. Glorious stuff.
@Matt_fletcher_2000, I did see that, but then I noticed that the the preset name went back to default, but the actual settings stayed the same. It's annoying, but it still worked the same.
De-esser won't really help with hiss. You'd need a noise reduction program for that (or defeat hiss at it's source) However, I mentioned this earlier, by using the internal side chain in pro-c you can make a de-esser with it.
Didn't know that, very useful tip!
I can't really argue with that! Thanks.
Actually it wasn't just that I couldn't hear the kick. It's that I felt the kick even on its own, soloed, was to weedy and thin. I wanted to make sound bigger and more aggressive.
Thanks everyone for your advice. Much appreciated. I must admit that currently with the kick clipped on its own channel but being master limited it sounds really good on all the systems I've tried it on - including iPhone headphones (where I find if its going to distort then it wil on those). So I'm tempted to leave it.
I might put the final track up here and you couod tell me, if you have a moment, how good or bad you think the final infamous kick result is.
Must say I'm loving all the fab filters though. Very easy to get the hang of. But deep.
Hey Matt - the Gog plug-in for Auria would allow you to swap that out if the transient detector would capture it well enough.
So far I have Only the native Auria bits .. in an effort to be Truly Mobile the IAP's feel very attractive but just when I think I've got my priorities straight ... I see Volcano (etc) ....lust!
As an Auria IAP virgin does the combination of Pro Q, MicroWarmer and Volcano2 seem like solid steps forward as first add-ons?
@Proppa I would definitely second ProQ and MicroWarmer as first plugins, but would suggest ProC over Volcano, myself.
@eustressor you're thinking some good Compression is a stronger essential than creative filtering? I think you might be right - thanks
NP - I have most of the Pro plugins and they do such a good job covering fundamental needs. Saturn, Timeless etc. are great, they really are, but in the end they're FX. I prefer covering the basics first.
BTW, if you have any interest in mastering, Pro L is awesome. If you'll be recording vocals, Pro DS is a must-have
If you're a guitar player, on the other hand, Saturn and Timeless make all the amp modelling software look kind of, well, crappy. Just starting to play with Volcano.
For anyone, Pro Q and Pro L first, as the most useful.
Agree on the guitar bit but would say pro Q and pro C instead of pro L on the most useful front.
@eustressor and @rickwaugh appreciate the thoughts good people
I laugh too because Auria plugs inevitably become So painful to choose / act / spend on: I seem to always end up wanting Every. Single. One. and because of that buying exactly zero of them. Basics.... Basics this time!
@syrupcore, I find the compressor in Auria to be decent, but I just got C, so looking forward to it. I found L did great things for my mixing, really great things. Just made it so much easier. @Proppa, just start buying them. When it comes down to it, not a lot of money. Just accumulate over time.
I am a guitarist, lol
Agree with you, ProL is the shit. But more for mastering. I think the ProC would generally see more regular use for a lot of users.
Yes, no. Everyone has to go through the final step and master/mix, and I can't see ever, not using Pro L. Pro C, we'll see.
I can tell, jealously, that you must feel you're getting your bang for your buck with DS. I find it very small somehow, not much going on, but then I'm picking the 'Vocal' preset and having a blind fiddle. Any tips or thoughts as regards what you're getting out of it?
@JohnnyGoodyear the key is A/B-ing your settings and using the frequency span bar to zero in on the problem area(s). Sometimes it's at 1200 to 4000khz, sometimes not. Still learning how to use it best myself, but when it works, it really works!
Also, occasionally I've used multiple instances of DS for particularly sibilant passages ... As long as the CPU is good, no harm, no foul
+> @eustressor said:
Thank you Boss. A little late to play with this frequency span bar tonight, but will go into the underbrush and try and find it on the morrow.
@JohnnyGoodyear - another trick worth trying - use ProQ to identify where the offending sibilance is occurring, and then set DS to cover that area, allows for greater surgical precision for DS
And remember (I'll keep staying it until someone says they tried it!) pro-c can be a de-esser very easily. Saturn as well to a much lesser degree, but you can compress just one band.