让
2—Use a Multiband Compressor
你必须在佛罗里达州一室公寓两张多频段压缩器选项。果味多频段压缩器,或马克西姆斯。我会建议使用鲆作为其特点是更加先进。如何Maximus的工作原理是,你有三个频段(低,中,高),您可以设置每个频率范围,然后还对效果的单波段高手压缩机。这使您可以通过频率范围添加控制您的声音,再加上你可以用单波段主压缩机一起凝胶乐队。
例如,你可以使用更重的压缩设置在0
然后你可以通过切换到监控视图中看到每个频段的压缩的结果。因此,调整增益每个频段的量,再加上攻击和释放时间。我觉得很酷的是,你可以在图中独特的阈值曲线绘制连。它
我想申请在低频段更难压缩和增加这个咯。然后,我略少压缩适用于中频段。然后对高频段,我不应用压缩,刚刚获得在赛道多一点高端的细节。
随着主带,你用这个作为一个单独的频段压缩器将所有频段胶在一起。只是申请一个微妙的压缩这里是为了帮助,甚至在赛道上的压缩。
3—Adding in Saturation
随着鲆,你也可以添加在每个波段的一些轻微的饱和,也被称为谐波精彩。与阈值,则有两种模式:模式A或B模式:你可以选择离开你想通过移动盘添加模式的百分比,或者直接从中心。随着吊顶表盘,当你开始这个你减少
4—How About Another EQ
多频段压缩后,您可能需要做出一些调整EQ。如果是这样,那么再添果味参数EQ2。我有时会发现一个稍微高情商的提升有助于带回一些得到通过压缩除去高端的细节。但是,这ISN
5—Some Reverb
什么也有助于元素凝胶在一起,给你的轨道,它属于是添加一些混响的空间感。如果你想使用一个真正的空间,你可以使用算法果味Reeverb2,或卷积果味卷积器混响。少即是多在这里。太多,这首歌将成为泥泞。所以掉落湿拨盘至约10%或以下。
6—Hard Limiter
最后的效果添加到您的母带链是果味限制器。这将最大限度地提高整个组合的感知量,再加上有助于防止您的主输出任何剪辑。输出设置为-0.1dB,从去大于0分贝阻,然后增加增益以最大限度地提高你的歌的整体感知水平。
8—Dither and Export
当你
Conclusion
这些都是一些方便的技术来使用以获得最佳的出FL Studio的掌握你的歌曲。尝试一下在你的下一个掌握会话。
Discussion
I believe when writing for a big website such as this one, it's very important to be accurate, as people can get stuck with "tips" on the net for a long time, delaying their production skills.
This article really misinforms readers, and here's why:
Tip 1: Cutting below 40hz is barbaric in many genres.
Not only can we hear downwards of 25 or even hear 20hz, many headphones and good speakers will have a frequency range travelling well below 40hz.
On top of this, the parametric eq in the picture is cutting valuable frequencies even above the stated 40hz and is even slightly affecting up to 130hz, which is nonsense.
Tip 3: Dynamic range compression and lossy compression are 2 completely different things, you won't lose high end freqs from dynamic range compression, and even if you did, this parametric EQ would not help recover these frequencies, because they're not there and you'd only be boosting the slightly lower ones.
Tip 6: Fruity Limiter has an unprofessional algorithm that causes a lot of pumping, even if you increase attack and release times, and can't apply in awful lot of gain.
Delete this comment if you like, but that doesn't rid the problem.
It's quite normal to cut out frequencies below 40Hz. It's completely irrelevant to the fact that humans can hear down to 20Hz and all to do with the effect that the cut actually has on the sound. Any sound below 40Hz is difficult to hear and cannot be distinguished as a note. In a song written for a diatonic scale it makes absolutely no sense to have any sound coming from these frequencies. It is only ever detected by human hearing as very deep noise, if it is detected in the first place. Cutting these frequencies out adds clarity to the music as humans can't recognise harmonics in this range.
Your dislike of the Fruity Limiter is also quite irrelevant. This is an article about mastering in fl studio. Of course you're not going to double the gain or drop the threshold to nearly nothing, that's not mastering. For the size of the edits that were made, Fruity limiter is perfectly adequate. It also comes with Fl studio so it makes sense that he mentions it.
I;m hoping to get a recommendation on where to add these plugins after you bounce the .wav file and import it into a new project, you then adjust the tempo and send your mixed track into which mixer channel? and do you apply those plugins at that same channel or on the mixer master channel?? Please clarify this is critical. Thank you
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