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Skill Level Intermediate
- [Instructor] Now, I just want to take a minute talking about using transient designers across the mixed bus because this is becoming more and more common, especially in the mastering stage, but it's something that's worth sort of thinking about because smack and loudness and all of this stuff, your transients, play a huge role in all of this and our perceived loudness of things and how satisfying things are to listen to. Having a huge blob of sound really isn't pleasurable for anyone. So, let's go ahead and let's just listen to part of this. Actually, let's go to the chorus section you know, for mastering we can listen to the high point just for the moment, but again, you know, you can use this stuff on your mix bus as you're working. But what I highly suggest is that you use these tools and tools like this in order to solve problems that you encounter, right? So instead of approaching things and being like, "I put transient designers on my mixed bus and that makes me better." I don't think that that's the right way to approach this. I think it should be the kind of thing where it's something to have in your back pocket. If your back is against the wall, you can sort of pull this tool out and maybe it saves the day. So let's go ahead and listen to what we got here. We got a little headroom happening. I just have some ozone action on here. I know I'm using ozone four, but I swear it's magic. I know it's tough to get now. I have it from all the way back in the day. I like ozone four. Let's just take a listen to what we've got at the moment. (mellow electronic music) All right, this is pretty cool. I mean, there's a lot of transient stuff going on and remember we treated our drum bus properly and our individual drums and the guitars and the eight-oh-eights. Again, I don't want to give you the idea that you should be using transient designers over everything. Sometimes I like to, and I can, I know what I'm doing. I also know how to be subtle with things, which comes from experience. So play, go overboard, have fun. I'm going to go back to the sort of original version of this crusty piano just so that we have a little bit more going on in the mix than our drums poking out and things like that. If I had a vocalist, I think maybe the super dialed back attack crusty piano would be appropriate, but I think that for the purposes of this moment this will be more fun to listen to. (mellow electronic music) All right, that's cool. Let's go over to our mix bus here. I've got a lot of stuff that's just in my template that's hanging around there. Let's go ahead and let's grab neutron. Neutron's a great place to start, okay? So we can do regular transient shaping here. Let's go to precise. We're going to go to medium. I think medium's a great place to start. See what happens if we add a little bit of attack again, less is more with this. If you start pulling back on the sustain on your mix bus, I mean, it actually might be really cool, I'm not going to lie, but I don't think that, you know, in the sort of salt of the earth school of mastering it's quite what you want to be doing. (mellow electronic music) All right, that certainly has a sound. I'm going to go ahead and bring in a limiter here. This is Pro-L2. Let's watch the headphone action, everybody at home. Just going to give it a little push. Two DB, let's go with transparent, we'll add that. All right, let's see how much we're reducing in this case. (mellow electronic music) All right, so we're reducing very little, we're not going crazy here, not a bad thing. This isn't a super loud mix or anything like that. I just want to give a good idea of what to expect. So we're hitting our limiter, which can sometimes give us some character. Let's bring neutron back in. And, it was in by the way, before when we were listening, just to be clear, just to make sure that everyone's paying attention. And let's just AB between these two. (mellow electronic music) All right, so what did we learn? We went overboard, all right. So I'm going to dial this back. Let's split the diff, let's hit it around 1.5 and we'll just bring this down to 1.7. (mellow electronic music) All right, quite the comparison there. I think there's a lot of interesting ground to be covered with that. And who knows, in terms of the situation that you might find yourself in, I really do think that that can be a very handy tool. Let's go back to spiff real quick just to touch on it before we move on. Lex sound, spiff, my buddy. Now, we're going to go ahead and just to be quick about it let's check out the mastering pre-sets, just for fun. Gentle transient rounding, interesting. Ooh, this is some multi-band action, we're mostly touching the top here. (mellow electronic music) This is some interesting stuff because it's actually cutting, which is having a kind of a pleasant effect on some of this, which I'm liking a lot. Let me go ahead and just go over to boost. And I'm going to turn down the trim just a little bit to make sure that we have enough headroom to open up this filter here, which is going to allow us to get to those lower frequencies. And I'm going to push my R and B frequencies here, 1.5 and 1.17. That's not a hard and fast rule, by the way, I'm just kind of kidding around. (mellow electronic music) All right, now that I'm not mad at. That feels real good on this mix bus. We're not doing anything super crazy. We're trimming, we're being responsible. But I actually do really like what this one is doing. Again, it is just about the emotional response. Does it make your head nod? Does it make you move? Does it make you want to dance? Does it make you want to cry? That's how we should be making all of these decisions and that's kind of how I keep myself away from getting sucked into the trap of, "Oh wow. I've got all these great transients and my mix is great." Cause that's not really how we should be judging mixes and things like that. So again, have fun with your transient designers. They should be filling a need that you have, rather than like, "Oh great, I use transient designers and that's what I do now." Consider it a great alternative to compression for certain applications. And remember, that just like any other plugin, it's all about the push-pull with the other elements in the mix, the other processing you're doing. So, experiment have fun, happy mixing, enjoy.