FL Studio Synthesis Master Class

Lesson 6 of 23

Compression Q and A

 

FL Studio Synthesis Master Class

Lesson 6 of 23

Compression Q and A

 

Lesson Info

Compression Q and A

It's someone's and I've heard a lot of what compression means, so some of these air going back, we've come in over the course, uh, put a lot of about what compression means, but what? What would you say is too much compression? And where the sound gets crushed? Where's the line? Yeah, that line is entirely arbitrary, that's super up to you as a producer, that sort of take it, tio, whatever levels you think is the max now, like, if you're depends also kind of your goals is a producer of against because you're why are you making music kind of thing like, if you're doing it because it sounds awesome and you want to make stuff, sounds awesome don't even care about one of people saying stuff just do stuff will be fine. I was he learned how to do stuff. You wanted to know what that like, as far as what's, good or bad is water, but up to you one hundred percent up to you. But if you're if you're if you're trying to specifically toe, like match another producer sound or, like, you know, get on...

a label and sound professional in that kind of thing, that's going to require a lot of referencing and listening to peter that you think sounds getting determining just how far you needed for christ compressed something to sound like what they sound like and you might be thinking about trying to president lee you know pretty hard, but I think there's sounds like it's compressed harder but different and like it's not quite the same with back repression. That kind of thing is remember all the parts that go into depression? It's not just how hard it pushing it? It's also what? What if threshold what's the ratio your time variables is a multi band like what you're doing before the compression housing makes before the compressor this compression something talking about before because a compressor is not your only tool to make everything sound like that. This is a very full sort of sphere of things that adds up to this kind of stuff, and it turned out to remember that at all at all does you can keep that it might awesome getting more in depth to multi band compression what are good decibel levels for lows, meds and highest again that's kind of up to you, although I have found like midson lows could be put up pretty much as high as you want, but high is kind of have to keep keep it down because of what I said before about the fact that high frequencies didn't require as much power as lower frequencies to be heard as loud which also means that if you push him up too high that sounds too high like it immediately becomes together it's just too high figure t it is of course also relative to each other where like the mids will sound like it's not as much bids if there's too much highs kind of thing and like or if it's to basically that also like everything that bad enough when really in the base just to out and again it's all relative to each other which is kind of why the zero g be staring exists to sort of honestly that help you with that kind of thing because if there was no limit and then I'll just matter to one who is going to put you know what level on the stairs or whatever that none of it would matter but it does matter so that's pretty much of that is but again it's up to you how it sounds so use your ears when you're doing it yeah there's there's only that you're not looking at the numbers you're actually listening to those frequency bands on this has assumed again what we said before about the thirty two bit death kind of stuff when you're working around a dog that like it is not really a reason to limit stuff and that sort of a damaging way it's really one hundred percent I know how you think things sound and again but the last question where what you think, how you think things sound good is honestly about your influences, like even if you weren't thinking about it, you've been listening to music your whole life and everything you've heard. Everything that you've accumulated in terms of your listening habits has determined about has determined what you think is good in terms of music, listening and that's what you're going to apply it to your track. So then listen to step that you think it's good and it's kind of compare, you know you're going to be exact because as you might discover, when you this thing doesn't like, you know, professional, a successful artist, that they run the gamut of, like, every kind of sound from way to crush, to not crushed enoughto weird bids, what wacky mixes, but they've all done vine, and they've all making decisions based on what they thought sounded good, certain. Let's, get up to you, it's awesome! Um, t j as a question, please ask seamless to define what resonance is. It may have been a little confusing when talking about it in the context of the four different filter types. Can you talk a little bit about resonance as far as what residents like is like attacking with technical definition, or is what like because a lot of this stuff is mimicking you know what analog hardware does for feathers like that you may have talked people talking about like, you know, the road builders they're so good and then have this particular residents quality and like I don't know how that works because I've never bother toe look it up but as it's practically you know shown in when you use it all there are residents is pretty much just this little filter peak that pushes up frequencies at the cut off and it creates a kind of a ringing sound for a low pass filter or high passable different band for band has father it's this it's aaron a notch the opposite of van passed a ban stop it is the width of the past or the stop and then that kind of thing which also does kind of result in a more ringing sound if you're using a vamp asphalt which I suppose is why they call the president because it resonates awesome dark acre jack this question actually got seven votes can we see at least one demo of subtracted synthesis workflow nfl cheers and then a smiley face well so can you sort of walk through the work flow of subtracted synthesis well that's kind of what we were just doing with this thing and then if you look at what we did here yeah we began with a sound okay which wass this and then we went from that to this guy that's, our way of shaper distorting the sound. And that created, you know what? We're what, like, you know, the sound of a star with took away from it, using the first around the filters and that's what this is the key was doing it's even quite visual because we could see the specter on it's how it's being really diminish and taking away from because of all the older guys like thing. And then we brought that back because, again, they got taken away from a lot brought it back in terms of level with maximus. I mean, the kind of the funny thing about jimmy in that particular part is that, um, we're using multi banker president if it goes far enough, like if you have enough multiple and splits weaken, theoretically undo everything that we did with the filtering we could bring back all the frequencies, and then literally that would have taken, they would have undid that kind of thing, except for the the phase distortion that we got the front moving around stuff a lot, which I will define later, but the is a bit of it's, a bit of a balance, you know how far you bring it back it again after you kind of kind of thing, but again when I mentioned on the second round of foot during or the ban passed, that bad has became the new rhythm for the old ban passed is that everything that we did to get to that point is to create a new thing from which to take away from, and it could create a new character, a new sound, a new concept as a result of applying all these attractive ideas, I wouldn't do it again again again, and you just keep doing it, and this is also kind of it's not we didn't like literally do this, but this kind of over and over again ideas the heart of the idea of re sampling, which is something you probably heard of a lot, and because we live in the future where we need to do that because we have all the processing power in the universe to just lay on the stuff. But fifteen years ago, this would have required a lot of bouncing a lot of really sampling to do this that's where this comes from that's, what it's for does the case you're everybody's curious what they had their every sample, but we will touch on that deal later truce jordan wants to know how would you separate your kick drum? Ah and sub base for hip hop and r b type tracks? Eso they don't clash well, that's, actually a kind of a soul thing like when I when I first started producing, I actually was the hip hop producer it's kind of what I wanted to do, what I wanted to be, but so I made beats that kind of thing, and every there are so many mixing guides back that this kind of stuff and very straightforward find the frequencies where your kick lives and then take this recruit is out of the base, I think not side chaining not, but what we do, doctor, what we do now, where you can kind of his have your base tone and your kick too, and just eat everything because of cake and that's, what my analogy was going by didn't really work with it, but if you have those just frequencies of the kick drum, you could just especially enough out of you to see it with the spectrum and say, ok, cool, it is remove that that is their way all the way, like you don't even like kill it completely, just like a little dipped, a bit of a dip, and you're fine and then that's what I always do it awesome, kind of a long question lorenzo wants to know high, he says, hi, you mentioned briefly briefly before the louder, the better sound law, I'm interested to know everything related to this concept in terms of application to attract basically, how can you achieve better contrast between instruments, louder versions quieter, but the quiet ones still audible and relevant? I know it's in the sum that the ratio is working, not an absolute, so we're ready to say that the up, but I kind of get where they're going. Yeah, and I guess this is a genre think john away. I think a lot of times when actually pretty much every time I've ever heard anybody make the argument for dynamic range being and like the best, like it needs to have important, that kind of thing, they always reference classical music, they reference, you know, they really do tio really, they do. You have that contrast and pretty much every man, every but most of that kind of stuff, especially like beethoven, being on that kind of thing and in the live presence of a show of an orchestra playing that that's awesome because it's like justice, depth of difference and loudness and it's really cool to play with that that's? Really not something the president a lot and the trier dance music and does not, because it's impossible was because it's not something that fits well in the genre. Somebody might do it's on now because they're just like what I challenge accepted and they might find a kuwait. It was totally fine, but as faras density goes, which I think I kind of think about this question is that you would take, like a seven lions tracked like it's, the the guy's known for layers and layers and layers and that kind of thing. And how do you make of the layers of distinctive how to make that work and answer is that he doesn't like it's kind of hard to tell other layer just kind of something one big wall, fay and you can do that or something that sometimes it's sickening stuff. But I do know is that, like, my layers are not so much the idea that I have a cord that has a billion versions of the same core, but the same thing is that, like, I'll have a chord, and then I have, like an aarp, and then I have, like, some kind of background and pad they have so much death stuff happening and it's mostly stuff for stuff sake, it's not so much that I I want every individual thing to be noticed inherited audible president because I mean even even in the classical music beethoven stuff that's layering you have strings and flutes and oboes of violins of brass and all kind of stuff and I bet you you would not be able to identify hold them if you were to hear it all at once a big orchestra hit it all blends together so well that you hear it as a solid thing even though there's like sixty different estimates doing it and that's that constant is also present and are louder much more compressed in jagged kind of thing but we could do that because each individual thing blends is you know again since the generally don't have that and a great tribute to them and you convicts them is perfectly you need you because they are consistent and constant and you know where they're going you know what they're going to be and you know that behavior all time forever because you control everything which is what I like about this like this kind of style of music have a bit of a control freak in that regard um and it also comes back to the talk about mixing way before but the idea that you can you make a drum kits on the way you want the sound by itself without when he makes a living together is how is nothing like that anymore but it sounds kind of like it did when everything's together to the point where you might hear on arbor that I made that's, super buried and everything. But I wouldn't, and I kind of think, but you still hear it with you here by itself. It sounds almost like nothing's there. But the reason why we're hearing is because it has so money related tambor's and sounds and tones to everything else that can stick out because on top of that stuff, and I was super, really vague, vaguely worded, that kind of thing. But I feel like that should help. It is all that in your head.

Class Description

FL Studio is the world’s most popular DAW – learn how to get the most out of it. In FL Studio Synthesis Master Class, power user and educator, SeamlessR will help you take your electronic music to the next level.

SeamlessR will introduce the high-level synthesis concepts, principles, and applications and show you how to tackle common electronic sound design challenges. You’ll learn about the four major types of synthesis: subtractive, fm, additive and wave table.

SeamlessR will guide you through the familiar sounds in electronic music and show how to recreate them in FL Studio. You’ll also learn how to use the stock instruments that come with FL Studio (Harmor, Sytrus, Harmless, Sawer, etc) and explore popular third-party plug-ins.

If you’re looking to master synthesis using FL Studio, SeamlessR will help you make the leap.

Reviews

Thomas Brogan
 

great stuff!!

rohan Dehade
 

this is the greet