Den Schlagzeug-Sound verbreitern

Mit
Dov WatermanDas steckt im Kurs
14 Lektionen (0h 33m) · 1 gratis
01. Einführung in Mischung und Automation
Gratis-Lektion0:45

02. Der Feinschliff für deinen Track
2:52

03. Den Mix angehen: Ordnung und Pegeleinstellung
6:42

04. Den Schlagzeug-Sound verbreitern
Du bist hier3:47

05. Side-Chaining
2:42

06. Pre-Fader- vs. Post-Fader-Metering
2:45

07. Quantisierung & Flex-Timing
2:05

08. Pegel prüfen, Kompression hinzufügen
1:18

09. Kreative Bearbeitung & Effekte
3:14

10. AUFGABE: Track Alternatives
1:02
Transkript der Lektion
Music Production Lesson: Mid-Side EQ Processing
Okay, so just leveling stuff out. I'm just listening to my virtual drummer. The drum track has been cut up and changed a little bit. It's sounding nice and EQ'd nicely. However, it's sounding a little bit mono to me.
Processing with Mid-Side EQ
So, what I'm going to do is process it through a mid-side EQ. I'll pull up one of Logic's EQs, specifically a vintage tube EQ. This is a new emulation, actually of the Pultec, very nice!
-
Open Dual Mono:
I'm going to open it up as a dual mono. Like on a real desk, this signal would be coming in on two dual mono channels, either panned left or right, or mono; it doesn't really matter in this case. -
Switch to Mid-Side:
I'm going to turn it into mid-side. I'll go down here and put it to mid-side so I can process both sides. Basically, the mid, which is normally the kick and the snare, would be centered, while anything else, like the cymbals, could be a little bit wider. -
Widening the Sound:
This will give me the effect of widening the sound. So, we're taking some frequencies, the outer frequencies, and boosting or cutting them, effectively widening the overall sound a bit.
EQ Adjustment Steps
- Go to the mids:
- Boost in here.
- Cut the high attenuation.
- Then, boost the highs a little.
Before and After
This is what it sounds like before: quite mono. Now, it's processed as a mid-side plug-in, adding quite a lot of depth and width to the sound.
Final Adjustments
Okay, so we'll leave that and add the rest of the things.
-
Peaking Issues:
This is peaking things a little bit; I'm going to bring down the volume. -
Kick Discrepancy:
There is some discrepancy here in the kick, it's doing something a little bit strange. I think it must be quantized to some funny quantization. -
Leveling Drums:
So I'm just going to pull it into its quantization. It's quantizing on the 16th. Okay, so I'll go ahead and just level all these drums out.
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Dov Waterman ist Komponist, Pianist und Produzent. Er hat für Filme wie After Earth, Terminator Genisys, Transformers: The Last Knight und The Snowman Musik geschrieben und das Sounddesign gestaltet und arbeitet als Audio-Editor für Sample-Bibliotheken und Sounddesigner mit Firmen wie Native Instruments und SonoKinetic.
Seine Reihe Composition in Logic geht den Aufbau eines Tracks von Anfang bis Ende in Logic Pro durch – von Templates und Workflow über Synthese und Beat-Programmierung, MIDI-Effekte, Editing bis zum finalen Mix – für Produzenten, die ihre Ideen in fertige Tracks verwandeln möchten.
















