18-11-2016, 01:29 AM
Nice to hear my smashing approach is appreciated. ^_^
Workflow for vocals: Inserted 3 compressors for serial compressing (Logic Pro 1176 Gray version), ratios 2, 4 and 8. Threshold for each so, that each compressor is applying max. 3 dBs of gain reduction. In the last comp also enabled saturation and limiting stages, and drove the signal towards them pretty hard with makeup to exaggerate things up. Then inserted a pre-eq for this chain and hunted down the nasty harshness as now it was for me much easier to hear things I didn't like in the sound. Finally added two Logic De-essers for some sibilance control, but set them pretty light. The hardest sibilances I just edited quieter with clip / region gain. There is actually very little compression in the traditional sense on the master buss. Only the standard glue compression of around 1-2 dBs, and then saturation and finally a limiter. The abusive smashing is done in the groups.
(11-11-2016, 09:04 AM)moussasfeir Wrote: I'm keen to know how you did (if you agree of course), I didn't manage to get such good results despite lots of dynamic EQ.
Workflow for vocals: Inserted 3 compressors for serial compressing (Logic Pro 1176 Gray version), ratios 2, 4 and 8. Threshold for each so, that each compressor is applying max. 3 dBs of gain reduction. In the last comp also enabled saturation and limiting stages, and drove the signal towards them pretty hard with makeup to exaggerate things up. Then inserted a pre-eq for this chain and hunted down the nasty harshness as now it was for me much easier to hear things I didn't like in the sound. Finally added two Logic De-essers for some sibilance control, but set them pretty light. The hardest sibilances I just edited quieter with clip / region gain. There is actually very little compression in the traditional sense on the master buss. Only the standard glue compression of around 1-2 dBs, and then saturation and finally a limiter. The abusive smashing is done in the groups.