By Brian Smithers
Thoroughly up-to-date for professional instruments eight, blending in seasoned instruments: ability Pack can help you enhance your realizing of the paintings and craft of making great-sounding mixes utilizing Digidesign's industry-standard DAW professional instruments. beginning with the fundamentals of crucial processors and dealing as much as complex sign routing and complicated sonic manipulation, this ebook may help you to provide polished professional-sounding mixes. As you're employed with the pattern periods at the integrated CD-ROM and the hands-on tutorials within the publication, you'll enhance your ears as you extend your wisdom. in contrast to different books with significant other discs, the resource records in your ability Pack CD-ROM are a necessary a part of this book's tutorials--they are usually not there as mere examples; they're the development blocks from which you will build the tasks. the result's an absolutely built-in studying experience--you'll study through employing the talents you have been taught via real-life event.
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Extra resources for Mixing in Pro Tools: Skill Pack
Memory location 3, Pumping, is another acoustic bass part; but this time it’s completely solo so you can focus on its sound. Fire up the Compressor/Limiter III again, bypass it, and listen closely to the natural sound of the bass. Hear how it has a percussive attack and a smooth, gradual decay? The compressor can reshape those, and that can have a huge impact on the character of the instrument. 1. Un-bypass the compressor, and call up the Pumping Bass preset. Notice that the notes decay differently now.
4. Watch the meters to confirm what you’re hearing. 11 illustrates, the Gain Reduction meter shows that the softer the signal, the more it is being turned down—exactly the opposite of what a compressor does. The Input and Output meters have a veritable race to the top, with the Input always having an early lead. The Output meter catches up as the signal reaches the threshold. 11 The meters of the expander show that maximum gain reduction occurs at the lowest signal levels. As the signal rises, the gain reduction gradually decreases until the threshold is reached.
2. Turn the Attack knob all the way down. 0 us, which means 10 microseconds. A microsecond is a thousandth of a millisecond, and technically the “u” should be m, a lower-case Greek mu. This effectively makes the compressor kick in immediately when a signal rises above the threshold. Listen to what it has done to the bass’s attack—it has squashed it like a bug! The attack is flat, with none of the characteristic thwack of the original. 6 shows the effect of slower and faster attack times. Note also that the sound is duller than the original.