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Surround mixing, Waves nx, Logic Pro and all that | VI-CONTROL
That moment when you start doing things for the sake of it, adding candy here and there without any real purpose, is the same moment you need to stop. At this point just commit and bounce. Unlock a bundle of free resources to help you create and release your music. Music Production. Table of Contents 1. Gain Staging 2. Balancing 3. Panning 4. Bussing 5. Problem-solving 6.
Committing 1. Gain Staging If you know me, you know I am hot pun excused on the issue of gain staging. Balancing This is the key to mixing. The ratio control tells the compressor how much to compress the signal above that level. This is expressed as a ratio such as , etc. The higher the ratio, the more the compressor reacts.
At a ratio of , our dB signal will be compressed to dB the difference between the threshold [db] and the signal level [dB] divided by 2.
The attack and release controls determine how fast the compressor kicks in when a signal passes the threshold attack , and how quickly the compressor disengages after the signal falls back below the threshold release. These two controls affect how much compression is applied, for how long, and greatly contribute to the sonic quality of the compression.
Sometimes labelled make up gain, this control is used to match the compressed and uncompressed signal levels. Because compressors often make things sound louder, it can be difficult to compare and accurately gauge the effect of a compressor when switching between the affected and unaffected signal.
Because the human ear naturally favours louder signals , the louder, compressed track often sounds better by comparison. Use the make up control to ensure the levels are consistent so you can judge the effect of compression more accurately. Compression is best used to control overly dynamic instruments, for example, an inconsistent vocal recording. Use the loop control in Logic to select a section of vocals, and open up the compressor plugin. Start with a modest ratio of is generally seen as the middle ground in compression ratios.
Roll back the threshold control until the compressor starts engaging when the loud vocals kick in. The goal here is to allow the compressor to kick into gear only when the vocals get too loud, not at all times.
That said, you may want to apply a little compression to the vocal tracks e. If the compressor is acting on vocal transients too slowly, make the attack quicker. Experiment with different attack, release, threshold, and ratio settings until you find the perfect setting. Logic, being Logic, has tonnes of built in effects that you can use to spice up your tracks, add some depth and interest, and make your productions sound just like the pros do.
Imagine a ball of blue light directly in front of you. The horizontal field left to right , is controlled by pan. Whereas the vertical up and down , represents frequency, which is dependent on the type of instrument bass guitar vs violin for example , as well as any equalization applied.
The volume or level controlled by the fader as well as compression , is represented by the light becoming brighter or duller. This is controlled using reverb. By using all four fields or spectrums stereo, dynamic, frequency and depth , you can give each instrument its own space in a mix, meaning every track can be heard clearly. Before the world of plugins, and even before outboard hardware effects, reverb was literally created in a physical space. For example, if you wanted a big chamber sound on a choir, you had to record the choir in a big chamber!
Obviously this is incredibly inconvenient, so sound engineers quickly figured out how to emulate this effect using springs and plates. Predelay The predelay parameters control the amount of time in milliseconds between the dry signal and the first reflection.
Reflectivity Have you noticed how some rooms are more reflective or noisy than others? Think of the difference in reflectiveness between an empty hall, and your living room with carpet, sofa and thick curtains. The pan system it uses is so awkquard, and the other big problem was the room I was using. The monitor and keyboard is on the side of the desk off the sweet spot. Anyhow I ran out of time, so took the wavs from the session and loaded up at home for the stereo mix.
Did that, then swapped the panners to suround mode. I love the 5. So easy to set and get the levels banging! You can post now and register later. If you have an account, sign in now to post with your account.
Paste as plain text instead. Music stems might be kept away from the Centre in this instance. By adding this control, you can manage whether the panner is controlling its centre image through the standard left and right speakers, or whether it feeds signal to the centre speaker for true 5.
Another way of managing the Centre content is to choose the output configuration from the top of each of the enlarged panner windows. This can be restricted to ‘5. Surround-sound automation is handled in a similar way to the automation of any other control in Logic. By changing the status of the automation mode on the channel strip to Write, Touch, or Latch, Logic will respond to any panner movements you make as the track plays. Again it is better to open the larger panner window for more accurate placement.
These moves can be edited later using the Display Track Automation menu option in the Arrange page, which shows the surround-sound options for close scrutiny. The Angle parameter positions the sound around the five speakers, whilst Diversion dictates how far from the centre ‘sweet spot’ the sound is drawn away. The LFE fader is provided so that you may manage the amount of content sent to the subwoofer independently.
For example, in a band recording you may only wish for the bass drum and the bass guitar to be fed in part to the LFE, keeping the bottom end clear of things like synth parts which contain frequencies that sometimes go that low and cloud the mix.
The Low Frequency Effect channel is the ‘. The use of the subwoofer might be dictated by your monitoring system, and should not be confused with the LFE channel. It is intended that in a true 5. In this instance the ‘. However, in monitoring systems for music the subwoofer is often used to improve the bass extension of smaller nearfield monitors, and in some surround monitoring systems bass from the five main channels may also be redirected to the LFE as well for this reason.
Be sure that you understand how your monitoring system is handling the bass end, and use the LFE channel for the extra bass only when necessary. The next question is how you finalise your surround-sound mixes for mastering. Bouncing for surround sound is just as easy as it is for stereo.
Just select the Bnce button from one of the newly created output-buss Audio objects or select Bounce from the File menu. The same dialogue box will appear as when doing stereo bounces, so you will need to change the ‘surround bounce’ drop-down menu to the variety of surround you want, in this case 5.
Notice that the file-size information at the bottom of the page changes according to the format chosen. Straight out of the box, Logic provides fantastic facilities for producing polished surround mixes for a wide range of applications.
Surround mixing logic pro x free
Logic Pro has some excellent tools for stereo imaging that go way beyond simple left / right panning. Joe Albano explains how to take advantage of them to make So there are a number of image processing tools in Logic that every mixer should be familiar with, for both basic panning and balancing to stereo image manipulation and creation. Here is an article I wrote before about Gain Staging in Logic Pro X (FREE PDF Inside!) 2. Balancing. This is the key to mixing. The very quality of the mix is predicated on how well balanced the elements are in the sound stage. One of my favourite pieces of advice is to watch the stage! The sound stage is a 3-dimensional space. Aug 02, · Logic pro surround mixing with waves nx. Thread starter shubhashish; Start date Aug 2, ; Tags logic pro x mixing film audio srround virtual mix waves nx.
Surround mixing logic pro x free
7. Bounce/Export. This is where you actually create the master files. Simply use the Bounce command in Logic Pro X and select the appropriate formats for where you want to submit your music. Tip: If you are uploading your music to an online distributor or Soundcloud, definitely use WAVE .wav) as your format. for mastering use. Because you’re free to use almost all plug-ins as you see fit, there are. few restrictions on the use of effects anywhere in the signal path. Most effects can be used in mono, stereo, dual mono, or surround channels. Logic Pro also. provides a number of dedicated surround plug-ins. Here is an article I wrote before about Gain Staging in Logic Pro X (FREE PDF Inside!) 2. Balancing. This is the key to mixing. The very quality of the mix is predicated on how well balanced the elements are in the sound stage. One of my favourite pieces of advice is to watch the stage! The sound stage is a 3-dimensional space.