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Multipressor - Part 1

Lesson 25 from: Music Production in Logic Pro X: Vocal Mixing Essentials

Tomas George

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Lesson Info

25. Multipressor - Part 1

<b>In this lesson, you will be introduced to Logic Pro's Multipressor and will learn why it can be useful for mixing.</b>


Class Trailer

Introduction and Welcome to this Class


Project Organization


Faders and Panning


Flex Pitch - Vocals


Flex Time - Vocals


Editing Studio Drums


Song Mix Deconstruct - Mixing Drum Kit Designer


Mixing Files


Lesson Info

Multipressor - Part 1

Hi. In this video, I'm gonna show you how to use logic pro's multi pressor which is a multiband compressor and how it might be useful in various mixing applications including this vocal track. So what is a multiband compressor? Well, a multiband compressor is a compressor that splits the signal into different bands. So you might have a low band, a low mid band, a high mid band and a high band, it splits those into different signals. Each of those signals gets filtered into those bands like so low mid high et cetera and then each of those bands have their own compressor. OK. So the compressors are only compressing a specific frequency band and then all of those signals get summed back together, which is what you hear. The stereo output of the multiband compressor. The most immediate benefit to a multiband compressor. It's not so much that you can have all of these different settings in the different bands, but it's more that it's actually a more transparent compressor when you are compr...

essing, especially broadband sounds or broadband signals like a full mix or even a vocal performance. It means it's more transparent. It means that a big resonance in the low end isn't going to trigger the compressor which pumps everything down. It's only gonna trigger that band's compression and the other compressors will work independently. So just as an alternative to a normal stereo compressor, it's just more transparent. So again, like a normal stereo compressor if you have a vocal track and the vocalist kicks the mic stand and there's this really low frequency thud and it's the loudest thing happening and triggers the compressor, it pushes everything down, but in a multiband compressor, it doesn't do that. So what you see here are the different bands that the multi presser has split the signal into. And what I'm gonna do is just to demonstrate what those bands sound like just solo one by one of this vocal performance to give you an idea of what those different bands sound like. For the briefest of moments, I feel like I'm flying for the briefest of moments. I feel like I'm flying. Ok. So I've soloed the lowest band and as you can hear, there's quite a bit of rumble in the recording. But if I move this parameter here that adjusts the crossover frequency of band one going into band two, so the crossover frequency is basically the frequency at which the lowest band ends and the highest of the two begins. The crossover is basically where one fades into another because it's not necessarily split exactly at that band. One band rolls off as another one comes in. So I'm just adjusting this crossover band here just to isolate down to less of the lowest harmonics in his vocal, but more the rumble and the stuff that we probably don't want in a recording for the briefest of moments, I feel like I'm flying for the briefest of moments. I feel like I'm flying. OK. So I'm really isolating down now to just that lower end of the frequency spectrum. Now, what I might decide to do actually is just bypass that, not because I'm bypassing or I'm completely reducing that frequency band, but I actually want it to be left alone so that this compressor doesn't react to anything below the crossover frequency. OK. So I'm just bypassing that compressor. So this band is being passed through, uncompressed and these bands are being passed through with their own compression. OK? So again, a random thud on the kickstand that's happening in this band isn't going to have an effect on the behavior of the compression on the band above it. So let's have a listen to this band for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm OK. So I've actually adjusted the band. So it's mostly concentrating on just the warmth of his voice. So let's leave that there for a minute. And now let's solo this band here which is currently set at 100 and 80 Hertz going up to 7.5 kilohertz. Now this is gonna be where most of the energy is gonna be for this vocal performance for the briefest of moments. I feel like I'm flying for the brief. Ok. And now let's solo the furry top band for the briefest of moments. I feel like I'm flying. And what I'm actually gonna do is bypass the DS R before my multiband compressor here. So that, that Sibilance actually comes through more and see if we can actually uh control it using a multi bound compressor here for the briefest of moments. I feel like, OK, so now isolating to these frequencies around 7.5 upwards is really allowing me to isolate the sibilant so I could use the multiband compressor to control that. And perhaps I will. So I'm just gonna answer that. And now what I'm gonna do is actually just apply some really gentle compression to all three of these bands. So I've bypassed that band so that band is being passed through uncompressed and I'm working on these three bands now for the briefest of moments, I feel like I'm flying. OK. So no compression or very little compression is actually happening right now because the settings are very conservative and because of the game station that I've done the signal going in is actually quite low. So I've got plenty of headroom to use this multipressing in. And what I'm actually gonna do is just dial down this parameter here on this band, which is where the majority of the energy of the vocal is happening. I'm just gonna pull down this threshold. The ratio is at 2 to 0 right now. I'm actually gonna dial that down to 1.5 which is generally where I start and everything else seems to be OK. What I'm actually gonna do is dial down the peak R MS value all the way down. So this is working as a peak compressor when you have a higher number such as, you know, a couple of 100 milliseconds. What that means is the detector inside that band is responding to a moving average as opposed to the very peak amplitude value of the signal. Generally speaking, the peak value is gonna be a much higher value than an R MS value. So if you do dial this down to zero, you will probably find that you have to adjust the threshold because it's just measuring a higher value signal for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying. OK. So as you can hear and see as I dial down the threshold of this band, it's dynamically compressing that band, it's not compressing this band or that band or that band, just this band. OK. Now, just like a normal compressor. We also have attack at release times to refine the way that it compresses the material. So I'm just gonna dial down the release and I'm gonna open up the attack a bit because I don't want to squash the transience of the voice for the briefest of moments. I feel like I'm flying for the briefest of moments. I feel like I'm flying. Ok. I'm pretty happy with that. It's controlling a lot of the body of the performance without creating pumping or any other artifacts in any of the other bands. That's one really practical use of the multiband compressor and why it can sometimes just be a more transparent solution than a regular stereo compressor. Thanks for watching and I'll see you in the next video.

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