Vocal, Drum Bus & Master Compression with FabFilter Pro-C2 - Mixing Tutorial
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- Опубліковано 19 вер 2024
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In this tutorial video Ableton Certified Trainer, Ian Gallagher, shows us some fresh new features in the FabFilter Pro-C2 compressor plugin. Useful compression styles and incredible audio quality help your workflow to go faster and your music to sound its best.
Pro-C is is an industry-leading compressor, used in mixing and mastering by engineers around the world. It was already incredible in version 1, so tune in to find out how they made it even more crazy. You’ll learn about:
1:15 Using Pro-C2 to Compress Vocals
Pro-C2 has a few new compression styles. Vocals need more compression than almost anything else because of how dynamic they are and how important it is to hear each word clearly. Usually we do this with two or three compressors in a chain to get enough control over the dynamic range.
The new vocal mode takes the guesswork out of the equation, by automatically setting ratio and knee. Hear Ian put it through its paces to lock a lead vocal in place using just a single instance of Pro-C2.
6:42 Using Pro-C2 to Compress a Drum Bus
Next up, you’ll see Pro-C2 go to town on a drum bus. Another one of the new modes in Pro-C2 is bus mode, perfect for this situation.
8:22 Mix Parameter
A widely-used technique on a drum group is called “New York compression”, which involves overcompressing the drums, then mixing back in the dry signal. This is done because you get the best of both worlds. You get the loudness and fatness of the heavily compressed signal, plus the punch and lively dynamics of the dry signal. With the mix parameter, you can dial in the amount of parallel compression you’d like without running the compressor in a send and return routing.
10:22 Master Bus Compression
Master bus compression is a key part of the mastering stage, or even in mixing if you want to hear your song with some gain reduction applied. The master compression style is designed just for that.
10:58 Sidechain EQ
Ian shows some advanced uses of Pro-C2 by also using the internal sidechain filter feature. This allows you to EQ the signal that the compressor is listening and reacting to. In this case, Ian highpasses out the kick and sub-bass so they stay clean and don’t trigger the compressor unnecessarily. This way the mids and highs of the master are compressed more transparently and evenly, avoiding the pumping that low end signals can introduce.
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#fabfilterproC2, #bestcompressor, #howtouseacompressor
When you filter the signal of the detector circuit you still compress the whole signal including the frequencies below the low cut. The compressor only reacts to the signals passing the threshold that the side chain is letting through. So Pro-C is not reacting to the kick/bass frequencies that are relatively slow and transient heavy at the same time.
However, still the complete signal including the low end will be compressed.
✌🏻
Important point - he suggested he was achieving essentially multi band limiting but that's not the case. I've seen quite a few videos make the same mistake.
Thank you! Now i know how to think about dynamics and rms levels when im using a compressor. It makes sense now. Cheers!
Im pretty sure if you use sidechain, then you are only changing the trigger for the compressor. The compressor still compresses everything, it is just not triggered by the kick and bass.
Pro-C2 is a single band compressor, so that's correct. It compresses the whole signal. What Ian's speaking to here is that the kick and sub won't be triggering the compressor with the internal sidechain filter set to highpass them out. Usually those are the loudest parts of the signal and cause the compressor to dramatically attenuate the mids and highs each time there's a kick or bass hit. They can also cause the compressor to pump or generate unwanted distortion. In this setup, you're ignoring low frequencies and triggering the compressor only with the remaining mid and high end of the signal, resulting in more even compression and a much lighter amount of compression on the kick and bass/sub.
@@warpacademy Exactly!
if he chose external then selected the kick and bass that would be you basic common side chain compression but it would also compress the entire signal and frequencies!
With the Pro C2 You can control the frequencies not just the signal of the elements!
This is extremely powerful when you don't want to compress the low end.
So basically instead of putting on an ableton compressor and then having to put an eq after it to tame the low end or high depending on what you compressing,
you can do it all in the pro c2 one plugin!
This is powerful!!
Because this also can be done on bus/groups and control what part of the frequency of the element you want to compressor instruments you want to glue!
That's correct. Ian must not have known how the plugin works when he recorded this
HOW CAN I GET THE FABFILTER PRO-C2?THIS LINK IS USELESS
@@DO-ls1qg bit.ly/GetTotalBundleYT
Dude!!!! I didn't know i hat a Pro-C2 in my Fab Bundle AMazing!!!!
did I finally just get a grasp of compression?
You have some of the best tutorials on YT. Thanks for the tips!
Glad you think so!
I love the Artist voice
VERY THANKS SIR
Just grabbed the fabfilter pro bundle yesterday so now I'm doing my research to ensure I'm getting the most out of what I've got.. not to mention I'm super new to mixing vocals an these plugins don't lie when there called "pro" lol I understand the basics but when it gets into words like sidechain knee audition an things like that I'm like uh.. whats that mean/do..
Having good tools is helpful. Now you need to learn them. If you have specific questions, let us know. Sounds like watching some tutorials on the basics of compression would be a good idea too. So you can get a handle on the terminology. Cheers!
Thank you. I think using metering for average loudness is going to help me improve a lot! I've been having trouble knowing how to judge compression. I can't believe I didn't realize this 🫣
Happy to help!
Thanks guys! Very helpful
Those pluging are nuts , much simplier to do needed sound with them then with native abelton instuments
The tip at minute 9 is wrong, for parallel compression you need to use the Dry knob just below the Auto Gain. The slider you are talking about here is for how hard you want your compressor to compress the sound overall. so a value of 200% means it'd a hard compression, and any value less than 100% means smoother compression.
Actually, if you read the manual, it's not wrong. Although you can also dial in parallel compression using the Dry knob, this is what the FabFilter manual says about the Mix parameter verbatim, "The Mix slider enables you to mix between the dry and processed signals, scaling the overall dynamic and static gain changes. Because the Mix slider ranges from 0% to 200%, you can also choose to increase overall gain processing instead of fading it out!"
Mixing between the dry and processed signals is exactly what parallel compression is, there are just 2 alternative ways to approach that in this plugin.
Great information, very useful thank you! :)
Thanck you.
Fabfilter always FTW 😍🔥💞
Thanks.
Thanks. I appreciate you guys
A bit of a minor “correction” here regarding sidechains to clear up any confusion. When you use a sidechain filter, the entire mix is still being compressed…pro-c isn’t a multiband compressor, it processes the entire frequency spectrum. What you *are* doing is telling the compressor “look, I want you to only hear the energy above 100hz (or whatever frequency)”. Low end information carries a TON of weight and can cause compressors to act in ways that sound funny/artificial to our ears. The fact that it leaves your low end “intact” is only a byproduct of the fact that the compressor isn’t hearing as much of it. Sidechains are telling the compressor what to react to. That’s why they can be used as “wide band” de-essers/de-harshers, too. You can filter out everything except some nasty frequency range and tell your compressor that you want it to lower the volume any time those frequencies get a bit too intense.
Hey hey. Good catch and this is totally true. Someone else had comment on this a while back and we'd already clarified, but it may have gotten buried in the comments. Cheers!
@@warpacademy
Posting content for audio engineers has to be a nightmare sometimes, man…the most pedantic group of people this side of reddit
Thanks!
Grate video! Concise and to the point.
Cheers. Thanks for watching.
I understood the side chain eq section filters out what triggers the compression, but then the compression applies to the whole signal ie it's still going to effect the kick/sub a bit, but much less so than if not filtered out.
That's correct. This was an oversight in the video.
Pure gold!!!
6:50 for drum bus
nice video
Thank you so much
You're welcome!
hello, thanks a lot for this useful video. which mode or range of presets would you qualify as "vintage emulations"? thanks
How can I sidechain my vocals doubles to the main vocal without sidechaining with the instrumental?
Hey Rylan. In general, we never sidechain (duck) any vocal parts. When you have doubles, it's common to hard pan them left and right, leaving the main lead vocal up the middle. Then you don't have masking. All of them are clear.
We'll also use depth staging on BVs or sometimes doubles, to set them a little back in the mix from the lead to create a sense of separation and contrast. This uses reverb, EQ, and static level rather than any ducking do a lead vocal.
great vid!
Cheers! Thanks for tuning in.
I've got to be honest, I don't understand the vocal style. The automatic features of it is weird, and I find its too inconsistent throughout a performance.
I had no idea about the light green being RMS level ect. I've been using Ableton for 10 years. Wow hahahahaha.
That was only introduced more recently when the meters were updated, so don't feel bad for not knowing that.
How does the Pro C2 compare to analog emulation plugins (such as the 1176, LA2A, SSL Bus Comp, or Fairchild 670)? Do those other types of compressors do something that the Pro C2 can't (other than adding the analog color of that compressor)?
I have some emulations from Native Instruments (which are the 1176, LA2A, SSL Bus Comp, DBX 160, and Manley Vari Mu), but at the moment I can't hear a difference. Maybe that's because I haven't been mixing for very long (a couple of months now). But I fully understand and can hear what the compression is doing to the audio.
Hey hey. The Pro-C2 is a really different animal. It's not trying to be analog so it doesn't have some of the limitations. In general it can sound much cleaner and more surgical for transparency, but it can also color the sound if you use the right mode and settings. I find that Pro-C2 is my general workhorse compressor for mixing, but that I'll use an emulated compressor when I want to color the sound.
If I had to choose only 1 compressor, it would be Pro-C2. I can't do without it. But I can do without all the emulations.
so how is this different with stock logic compressor plug ins? its on sale right now...is it worth it?
has more options that make your life a lot easier, the visualization of the audio is great when working with vocals, and if you are a student right now, it's only $89 until tomorrow morning. That's worth it if you're mixing and mastering and are at least at an intermediate level. Go to their website!
What screen recording software do you use? Awesome tutorials btw.
Thanks! We use Telestream Screenflow. It's for OSX only. Camtasia is a good alternative on Windows.
nice !
6:43
So nice to see a guy talking right away with a serious face! No silly music.
Gut feeling is the content must be good from here.
LINK NO WORK
bit.ly/GetTotalBundleYT
@@warpacademy ya meme descargue ya :/ mejor escucha los temas que hice con eso
Dear lord, lady practice your rhythm chops. There isn't a plugin in the whole world that can make soulless, rhythm-less vocals sound good. I suppose you did the best you could with what you had. You even subdivided every 16th note for her and she still couldn't get it.
What's in the vocals? Crooked tuning???
Not sure. This video was a long ways back.