Élargir le son de la batterie
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Dov Waterman
Le contenu du cours
14 leçons (0h 33min) · 1 gratuites
01. Introduction au mixage et à l'automation
Leçon gratuite0:45
02. Peaufiner ton morceau
2:52
03. Aborder le mixage : organisation et réglage des niveaux
6:42
04. Élargir le son de la batterie
Tu es ici3:47
05. Side-chaining
2:42
06. Mesure pré-fader vs post-fader
2:45
07. Quantification et flex-timing
2:05
08. Vérifier les niveaux et ajouter de la compression
1:18
09. Traitement créatif et effets
3:14
10. DEVOIR : Track Alternatives
1:02
Transcription de la leçon
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.
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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 est compositeur, pianiste et producteur. Il a écrit et conçu le son de films tels que After Earth, Terminator Genisys, Transformers: The Last Knight et The Snowman, et travaille comme monteur audio de bibliothèques de samples et sound designer avec des sociétés comme Native Instruments et SonoKinetic.
Sa série Composition in Logic parcourt la construction d'un morceau de bout en bout dans Logic Pro — des templates et du workflow jusqu'à la synthèse et la programmation de beats, les effets MIDI, le montage et le mix final — pour les producteurs qui veulent transformer leurs idées en disques aboutis.
