Monthly Archives: October 2020

Samplecraze De-Esser What Is It And How Does It Work TUTORIAL

De-esser – what is it and how does it work is a video tutorial explaining how a de-esser works and how to use it to treat sibilance in vocal recordings.

A de-esser is critical in audio production and is used to tame all manner of vocal sibilance and problematic high frequencies.

One of the biggest problems facing producers who process vocal takes is that of sibilance. Sibilance refers to the harsh consonants, notably ess and eff, that are exaggerated due to either the singer’s voice or delivery (sometimes getting too close to the microphone can exaggerate sibilance). The microphone is merciless in picking up sibilance and taming these nasties can be a nightmare if you don’t know how.

De-esser

The process of taming or controlling sibilance is called De-Essing which makes perfect sense as what we are trying to do is to de-ess, ie, remove the sss or attenuate it. Quite often the producer will manually search for sibilance and use volume automation to attenuate the sibilant frequencies. However, this can be time-consuming and quite laborious and in these instances, we prefer to use a dedicated de-esser. The de-esser is designed specifically to treat sibilance in vocal recordings.

The problem with treating sibilance is trying to locate exactly where it resides in the vocal waveform. Sibilance invariably can cover quite a wide band of frequencies and I have often treated them from 4 kHz all the way to 12 kHz. Additionally, you need to be careful not to attenuate too heavily as the process can suck the life out of the band of frequencies being processed: remember that we are attenuating a range of frequencies and not individual frequencies.

Even the best tracked vocals can exhibit sibilance.

How to use a de-esser

With a de-esser we need to first specify the range of frequencies we want to process and we are given two parameters to play with; the start of the range and the end of the range. This is referred to as the bandwidth. Once we have the range selected we need to use the threshold feature to determine at what point we want the de-esser to start to attenuate the frequencies. We then need to shape the behaviour of the de-esser by using the attack and release functions and finally we need to determine by what amount we want the frequencies attenuated; this is often referred to as reduction or range.

In this video I run a female vocal take through various de-esser plugins. I explain what a de-esser is, how it works and how to use it. I make sure to cover every feature available for a de-esser and I guide you through the proper settings to use to successfully de-ess female vocals.

Plugins used in this video:

SSL Vocalstrip

FabFilter Pro DS

Toneboosters TB Sibilance

Topics covered in this video are:

• What is a de-esser
• Sibilance – What is it and How do you Control it
• Taming Plosives
• Clicks and Pops in Recordings
• Wide Band and Split Band
• Threshold
• Filters
• Range
• Side-chain
• Attack and Release
• Tips and Tricks

Links

Samplecraze Using Modulation To Shape a Delay Effect’s Filters TUTORIAL

Using Modulation to shape a Delay Effect’s Filters is a video tutorial that explains what modulators are and how to use them to modulate various parameters on plugins.

Sound designers have been using modulators for years. The modulation matrix that houses both source and destination modulators is where all the funky programming takes place to shape the sound. Nowadays, music producers use modulators to control and shape sounds, dynamics, and effects.

Before we can get creative with modulating effects, and in this case a delay effect, we need to understand what modulators are.

What is a Modulator

A modulator is a device that controls the parameters of another device. The modulator is called the source and the device being modulated is called the destination. A good and simple example of a source modulator is the pitch wheel on a keyboard and in this instance the destination is pitch. In other words, the pitch wheel when moved alters the pitch of the sound being played.

Almost anything can be a source modulator. Most synthesizer keyboards have a dedicated modwheel (modulation wheel) which can be assigned to a whole host of destination sources and we can replicate this scenario in our DAWs. In fact, we can design our own modulators and have them trigger all manner of processes. We can use Midi controllers to control any desired destination and now we can even use audio to modulate another piece of audio. And it doesn’t end there. Most DAWs give you extensive source modulators to use in the Automation Lanes. In effect, we can use a shape to control the volume of the audio.

However, in this tutorial, we are going to use a delay effect that has its own built-in modulation matrix – FabFilter Timeless. This particular delay effect has a very detailed and comprehensive modulation matrix (mod matrix). Every parameter of the delay effect can be modulated and this gives us huge scope for some very cool sound design possibilities.

Source Modulators

In this tutorial I am using two source modulators: the first is an LFO and the second is an Envelope Generator (EG).

LFO – Low-Frequency Oscillator

Low-Frequency Oscillators LFOs are often used as source modulators as they can have varying shapes and can be both cyclic and random and they can modulate (control) a whole host of destinations. An LFO is a low-frequency oscillator and it oscillates at a far lower frequency than a traditional oscillator (usually at around 10 Hz). This means that it is not heard like a traditional oscillator but still cycles like one and is, therefore, a great source modulator to use for cyclic events.

Common examples that use an LFO as a source modular are:

Tremolo – the amplitude (volume) is modulated by an LFO.

Vibrato – the pitch is modulated by an LFO

Flanger – is another modulation effect whereby the delayed signal, which is added back to an equal amount of the dry signal, is modulated by using an LFO.

Phaser –  behaves in much the same way as chorus and flanging but with shorter delay times and the effect itself is far more subtle. Because phasing works with shorter delay times than chorus and flanging the impression is that there is only one sound as opposed to two distinct sounds and because the LFO modulates frequencies (peaks and trough, also known as notches) the filtering effect is quite pleasing.

Now that we understand how an LFO can affect a sound we can start by using LFOs to modulate different destinations to the usual amplitude and pitch.

Source modulators are not constrained to using LFOs. We can use an envelope generator (EG) to modulate any destination.

Envelope – shape

An envelope denotes a shape that controls the amplitude (volume) of a sound over time, and the most common envelope parameters are ADSR (attack, decay, sustain and release). However, what we want is an envelope generator that can be used to modulate ANY destination as opposed to amplitude.

Envelope Generator (EG)

Also called Contour Generator the envelope generator generates a control signal which can be used to represent the envelope (shape) of the destination.

In the Using Modulation to shape a Delay Effect’s Filters video, I explain what LFOs are, what Envelope Generators are and how to use them to control various destination parameters like filter frequency and filter pan. I show you how to use various LFO shapes to trigger different responses from the filters and I end the tutorial by showing you how to use an envelope generator to modulate the filter frequency overtime of a drum beat.

The plugin used in this video:

FabFilter Timeless

Topics covered in this video are:

• Understanding Modulation
• Source and Destination
• Modulation and Spatial Effects
• Understanding the Matrix
• Envelopes
• Filters and Filtering
• Positive and Negative Responses
• Modes and Resonance

Links

Samplecraze MixBus Mastering Equalisation TUTORIAL

MixBus Mastering Equalisation is a video tutorial explaining how to use equalisation at the mixbus/master bus both for corrective and colouring tasks.

Whenever I am about to master a mix I take some steps to ensure I get the best possible results.

Preparing to master

The first thing I do is to listen to well produced and mastered music that is similar to the mix I am mastering. I use this as a reference for the mastering process I am about to undertake. The ear/brain combination needs pampering to maintain interest in what it hears and well produced dynamic masters work every time in maintaining that interest. The idea is to ‘tune’ the ears of the mastering engineer to the reference. Once my ears are tuned and ready I step back and listen to the mix I am about to master. I listen at a level whereby I can hear everything in detail but without cranking the volume. Loudness doesn’t help when you are trying to master. It throws your judgement into the air and biases critical decision making. I make notes about what I feel needs addressing in the mix. I then listen again and again looking for frequencies that need treatment. Once I have completed my list of ‘things that need looking at’ I decide on what signal chain to create to achieve the master I am after and the one process that stands out above the rest is that of equalisation.

Mastering equalisation – linear phase or minimum phase

A well produced mix only needs fairy dust processing from the mastering engineer. It is so much easier to make creative decisions about how to master a mix if it is well produced and presented. Poor mixes force the mastering engineer to use all manner of corrective processes in trying to fix errors and that can sometimes compromise the creative processing. In both scenarios, equalisation is used as the first process in mastering. Be it corrective or creative it is almost always nailed into the first spot of the mastering signal chain. The question arises as to what type of equaliser to use. Do you opt for a linear phase surgical equaliser or a minimum phase coloured equaliser? The decision is dependent on what you are trying to achieve. If you are performing corrective processing then a linear phase design might suit the task better than a minimum phase design. If you are performing colouring processing then a minimum phase design will give you acres of desirable colour to play with.

If you would like more information about the differences between linear phase and minimum phase please watch this video:

Linear Phase Eq versus Minimum Phase Eq

If you ask any mastering engineer what their ‘go to’ mastering equaliser is you will get a variety of responses but they will all include the mighty Maselec MEA-2 and this tutorial uses this gorgeous equaliser, albeit in software form, to master a mix.

The MEA-2 is a stereo or 2-channel, four-band precision analogue equalizer with stepped Q/shelf, frequency and cut/boost controls on each band. Even though this equaliser is used for surgical precision eq tasks it imparts a lovely texture to whatever material it is applied to.

In the MixBus Mastering Equalisation video, I show you how to use a Maselec MEA-2 emulation plugin called Ivory made by Acustica Audio. I explain every feature on this special equaliser and show you how to use it on a produced stereo mix to achieve the best possible master. I show you how to process specific frequency ranges and offer industry tips and tricks on how to get your mix masters to sound epic!

The plugin used in this video:

Acustica Audio Ivory 4 Mastering Equaliser

Topics covered in this video are:

• Bandwidth
• Fixed Frequency
• Notch
• Wideband versus Narrow Band
• Filters
• Responses
• Maselec EQ
• Ivory EQ
• Tips and Tricks

Links