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Playlist of Secrets of Waves F6 Floating

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    Secrets of Waves F6 Floating-Band Dynamic EQ

    2:02

    Save a 10% on any purchase at Waves Audio with this link:

    Simple knowledge of tricks and keyboard commands like these can improve your reaction time and get more inspired results when using any of these two equalizers. The ability to isolate frequency bands allows you to hear exactly what the plugin is doing; lock the vertical or the horizontal of a band to fine tuning without loosing other settings; change the Q from the main screen instead of Gabi G to reach out for a knob is always welcome and finally switching bands on or off is always useful.

    In this video we see how all this can be done in the new F6 Floating-Band Dynamic EQ and we will also learn how many of these commands have been available for years, imported from the classic Renaissance and other Waves equalizers.

    If you feel like buying use our link to save an additional 10% off any purchase at Waves and we will get some credits as well:

    From the website:

    Surgical dynamic equalizer with 6 floating, fully-adjustable parametric filter bands, advanced EQ and compression/expansion controls per band, mid-side processing options, real-time frequency spectrum analyzer, and more. The ultimate problem-solving EQ, F6 can be used for diverse equalization, compression, expansion and de-essing processes, whether you’re mixing or mastering, in the studio or live. Each of the six floating bands features advanced EQ and dynamic controls that let you zero in on any problem spot – and treat it only when the problem arises. Rather than treating a frequency one time and leaving it there for the entire track, F6’s EQ settings are sensitive to the dynamics of your track. This way you can select not only by how much, but also precisely when a specific frequency will be boosted or cut, compressed or expanded. Take vocals for example: A singer’s tone changes throughout a performance depending on their position to the microphone. An EQ setting that works well when the singer is close to the mic and singing softly will not be as effective when the singer backs up and starts belting. F6 moves in time with the singer, kicking in when the vocal level crosses a certain threshold that you’ve set – and laying off when it falls below that threshold. With the F6, you can EQ more precisely, with filters that can be as narrow or as wide as you like, free-floating bands that can overlap, variable EQ shapes, and threshold-sensitive EQ settings. F6 is ideal for isolating specific problems on individual tracks and fixing them transparently only when they pop out. The plugin’s advanced mid-side processing capabilities give you even greater ability to carve out EQ space in a busy mix, so you can breathe more life into your mixes. The F6 dynamic EQ also includes a feature-rich, FFT-based real-time frequency spectrum analyzer, easily accessible from the main plugin interface. Analyzer features include adjustable resolution, adjustable reaction speed, RMS vs. peak response, pre-EQ, post-EQ and sidechain options, frequency, note and amplitude display based on cursor position, and diverse L/R monitoring options. Music is dynamic. The intensity of any piece of music constantly rises and falls. With the F6 dynamic EQ plugin, you finally have the perfect EQ tool to match this dynamic variation.

    Link:

    Enjoy!


    Bandcamp:

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    Waves F6 Dynamic EQ Plugin Overview

    6:21

    Watch mix engineer Brad Divens (Kanye West, Enrique Iglesias) demonstrate sidechaining, mid-side processing & more with the F6 Floating-Band Dynamic EQ plugin. Learn more:

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    Waves F6 Floating-Band Dynamic EQ | Quick Review

    13:49

    Waves F6 Floating-Band Dynamic EQ | Review

    Subscribe for more tutorials for mixing, mastering, music production and other good tips to do with music production.

    For mastering email me at: N828music@gmail.com

    Studio gear:

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    Screen Video Capture: Screen flow 6.2

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    EQ Problems SOLVED – Waves F6 Dynamic EQ Plugin Tutorial

    9:02

    Learn how to solve common vocal and cymbal equalization problems with the Waves F6 Dynamic EQ plugin: tutorial by Grammy-winning engineer Dave Darlington (Avicii, David Guetta, Sting). Learn more:

    00:14 – How to tame a harsh vocal
    02:15 – How to make vocals shine without sibilance
    03:53 – How to sidechain the lead vocal to help it cut through the mix
    07:24 – How to selectively tame harsh cymbals

    Song: Carl Nunes & TripL – “Better World”
    Listen or download:

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    Introducing the F6 Floating-Band Dynamic EQ Plugin

    1:00

    Tame a harsh vocal, but only when it’s too loud. Carve out EQ space in a busy mix – but do it dynamically. With 6 floating filters, each combining advanced EQ and dynamics controls, F6 is the ultimate problem-solving EQ. Learn more:

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    mixing with Waves F6 Dynamic EQ

    11:48

    This video I give an overview and some examples of how I use the Waves F6 when mixing. If you would like to give me a referral you can do so by purchasing through the link below.

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    Tips prácticos #11 Crea espacio en voces utilizando Eq Dinámico con el F6 Floating-Band Dynamic EQ

    3:44

    Tips prácticos #11 Crea espacio en voces utilizando Eq Dinámico con el F6 :

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    Waves F6 Dynamic EQ - Reseña

    10:40

    Waves F6 Dynamic EQ. Más videos y artículos como este aquí en:

    Aquí te enseñamos cómo usar el plugin Waves F6.

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    Hidden wonders on Waves Kramer Master Tape

    1:42

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    Kramer Master Tape page:

    Having been modeled on a very old device, Kramer Tape doesn't leave room for nonsense but there is a button that although performs an equally simple function can have a wide variety of useful uses.

    When MONITOR is set to INPUT, the tape sound is excluded, leaving only the sound of the circuit that is before the head and the typical emphasis filters of these machines. This is a process similar to the style E in Decapitator. Don't confuse this with a complete bypass, although there is no tape yet we will get the nice character of a great #vintage circuit.

    Since WOW & FLUTTER, SPEED, BIAS and FLUX are only relevant with tape, they are only activated when MONITOR is set to REPRO. FLUX is particularly relevant since it defines the energy with which the tape is printed thereby defining the level of tape saturation.

    For example, if we want more #tape #saturation we can reduce RECORD LEVEL to decrease the circuit saturation and increase FLUX to increase the tape saturation. If now we turn off the tape we can check that there is almost no circuit saturation. If on the other hand we decide that the circuit saturation sounds better in a particular case then we can reduce FLUX or simply turn off the tape completely and increase RECORD LEVEL (always chained to PLAYBACK LEVEL of course).

    Finally as we like to do with reverbs, our favorite way is to use the two saturations at the same time and find the correct balance between both.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


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    Fixing weak DRUM loops with Waves F6 Dynamic EQ

    2:50

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    This loop we found in the Soundbase browser of Pro Tools had the perfect groove for our song but it was weak, of course that wouldn't stop us, we decided to take action and fix it ourselves. Why not? Here we show you how we did!

    For more information watch Secrets of Waves F6 Floating-Band Dynamic EQ (WINDOWS):

    Save an additional 10% off any purchase at Waves Audio with this link:

    Description:

    Mixing with Waves F6 Dynamic EQ

    KICK: To increase the kick without affecting the snare and the rest of the loop select any band and change it into a low shelf filter.
    Move the THRESHOLD needle until the peaks of the kick exceed it.
    Make sure the other hits are below the needle.
    Increase RANGE until the level of the kick is at the desired volume.
    Notice how the EQ curve is activated only when the kick plays.
    Adjust the Q until the transition sounds natural.
    Use FREQ in isolation to find the exact area of the kick you want to affect.
    Since we are increasing the low end considerably it is possible that it is necessary to use the HPF.

    SNARE: There's a frequency on the snare that sounds too harsh. Use a bell filter to control it.
    Use the band in isolation to find the exact frequency and width of the problematic area.
    Now repeat the process of lowering the THRESHOLD needle until the hits of the snare exceed it but this time move RANGE in the opposite direction.

    LOW-MIDS: In the area where the kick and the snare coincide, we want to increase the punch of the kick without adding more body to the snare.
    First look for the exact area with a band in isolation, then move the THRESHOLD needle until it is reached by the snare and reduce RANGE. With that we will have reduced the body of the snare without affecting the kick yet. Now use GAIN to recover the body of the snare and at the same time increase the punch of the kick.

    DISTORTION CONTROL: If, like this case, the loop has been abused with too much distortion, use an LPF to reduce the extremely harsh frequencies of the hi-hat and give it some lo-fi vibe.

    The last thing as always is to listen in context and make adjustments until everything sounds just perfect.

    Now enjoy the groove!

    Direct link:

    #Mixing #electronic #loops

    Enjoy!


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    Tips prácticos #2 : SideChain de frecuencias entre voz y música utilizando F6 Dynamic Eq

    4:58

    Tips prácticos #2 : SideChain de frecuencias entre voz y música utilizando F6 Dynamic Eq
    Info del plugin :

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    F6 Dynamic EQ Update – Now with a Real-Time Analyzer

    53

    You asked for it, you got it: The F6 Floating-Band Dynamic EQ plugin has been updated with a feature-rich real-time frequency spectrum analyzer, accessible from the main plugin interface. Learn more:

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    How to Get Harder Hitting 808 Kicks in Your Tracks

    8:20

    Watch how to create more punchy, harder-hitting 808 kicks by shaping attack transients, adding heavy-aggressive distortion, and sidechaining the kick and bass. Download the free presets and plugin chain:

    (0:25) Adding Top-End Attack to 808s
    (2:43) Creating Distorted 808s
    (4:59) Sidechaining 808 Kick & Bass

    Plugins used in this video:
    StudioRack:
    Smack Attack Transient Shaper:
    Manny Marroquin Distortion:
    F6 Floating-Band Dynamic EQ:
    PAZ Analyzer:

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    The basics of equalization EQ Wave plugins

    2:24

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    Rap Vocals De-essing | Using dynamic EQ

    8:03

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    In this video I`m showing a tehnique for rap vocal de-essing using a dynamic eq .

    I am using dynamic eq for rap vocals de-essing when mixing because you have alot of control and you can really remove unwanted , harsh frequencies and resonance .

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    Trying out Waves F6 Equalizer

    2:17

    i got a free 7 day demo trial.. i think this EQ sounds pretty good on anything.. i might buy this plugin after the 7 day trial.

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    Mix Secrets TV - Enrico De Paoli at InfoComm 2017 - WAVES F6 Dynamic EQ

    8:50

    Grammy winning engineer/producer Enrico De Paoli interviews Luke Smith from WAVES about the new F6 dynamic equalizer plug-in.

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    Quick review of the JUMPER section of Waves BSS DPR-402

    2:08

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    Note: the background music is just that, background music. The on-screen plugins do not affect the sound at all.

    BSS DPR-402:

    Since we used Q-Clone to visualize the sidechain channel of the CLA-2A, it has been going around in our head to do the same with #Waves DPR-402 to see the different configurations of the JUMPERS... First we want to note that in the default setting the circuit reduces some low frequencies even when there is no compression. For the rest of the #experiment we will generate a lot of compression and match the volume to unity gain. Now we just have to press the interactive help button, switch between the different #JUMPER options and read the descriptions while checking the result in Q-Clone.

    Watch Waves MV2, Expansion, Upward & Low Level Compression Explained:

    Watch Mixing DJ scratches with Waves plugins (& what is an expander?):

    Note #2: we are not sure how the last 2 modes can be used, if we find out you can rest assured that we'll make another video!

    direct link:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Dynamic EQ ★ Top Secret

    8:12

    Dynamic EQ ★ Toutes les Techniques des Pro ! ★
    Chap. 18 de la Formation EQ Ultimate ▼▼▼ Extraits Offerts

    Créez votre Compte sans engagement sur pour visionner plus d'extraits GRATUITS de cette formation !

    Plus de 12h de Formation Haut de gamme - sur les Techniques d'équalisation Top Secrètes que seuls les Pro utilisent en Studio.

    LES DYNAMIC EQ -
    -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
    - A quoi sert une Dynamic EQ ?
    - Différence entre Dynamic EQ et Multiband Compression
    - Waves F6 RTA
    - UAD Sonnox Dynamic EQ
    - Izotope Neutron 2 Dynamic EQ
    - Izotope Ozone 8 Dynamic EQ
    - Melda MDynamicEQ et MAutoDynamicEQ
    - TDR Nova Parallel Dynamic EQ

    - Technique de Coloration Dynamique
    - Technique de Sidechain Dynamic EQ
    - Techniques d'EQ Expansion
    - Technique de Dynamic Carving
    - Technique de Mid Side Dynamic EQ
    - Stabilisation Fréquentielle
    - MASTER Dynamic Top Control
    - BONUS : TDR Nova Gentleman's Edition

    ★ MJ TUTOS VERSION 5 ★


    ★ LES ARCHIVES VERSION 4 ★

    Cours de MAO - Mixage Audio - Devenir Beatmaker

    ★ RÉSEAUX SOCIAUX ★

    F A C E B O O K -
    I N S T A G R A M -
    D I S C O R D -
    P A T R E O N -
    S N A P C H A T - lateammj

    Dynamic EQ ★ Les Secrets des Pro

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    Waves F6 updated with an RTA

    5:34

    This video covers the RTA added in an update to the F6 in Feb 2018.

    Mixing with Waves F6 Dynamic EQ

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    Get Waves F6 Floating-Band Dynamic EQ for $26, coupon code: http://refer.waves.com/bi5lS

    16

    Click the coupon code link, you will receive a code to enter during check out to save 10% anytime.

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    3 Golden Rules for Low End Hip Hop Mixing | Lu Diaz

    9:35

    Multi-platinum producer/mixer Lu Diaz (Jay Z, Kodak Black, Pitbull) gives 3 tips for blending 808s and kicks to get a clean, punchy low end in your tracks. Get more hip hop production tips:

    1:16 Tip #1: Enhancing 808 Harmonics & Tone
    4:29 Tip #2: Multiple EQs for the Kick
    6:58 Tip #3: Sidechaining Kick & 808

    Plugins used by Lu Diaz in this video:

    Vitamin Sonic Enhancer:
    PuigTec EQs:
    F6 Floating-Band Dynamic EQ:
    SSL E-Channel:
    API 550:

    Music: Feel It Babe by Realzz. Produced by The Track Burnaz.

    Get the latest updates from Lu Diaz:
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    Sidechain Dynamic EQ to Clean Up Your Mix!

    8:04

    Hey guys! Just wanted to share a technique I use to dynamically scult sounds around each other in the mix so they can be full most of the time, and yet carve away space dynamically in response to competing instruments!

    Follow Me:


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    Make SPACE for your lead tracks with Waves F6

    2:39

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    Sign up for the FREE Waves masterclass with David Darlington (including a 15% discount for Waves plugins inside):

    We want to create space for this #guitar solo to be heard more easily among the dense layer of accompanying instruments that are in the same frequency range. For that we have created a pre-fader send channel that will send an exact copy of the guitar track to the SideChain input of an instance of #Waves F6 dynamic EQ in MS mode inserted on the #keyboard group. When the guitar track (which is panned to the center) produces some sound the F6 will reduce the center channel (mid) of the keyboard group channel without affecting the sides creating space for the guitar in the center without having to reduce the presence in the piano and pads on the sides. Notice how when F6 is in bypass it seems as if the guitar goes down in volume.

    Insert F6 into the group channel of the accompanying instruments that you want to duck when the lead voice sounds. If you do not use. group channels this is a good time to start, they are very useful. With lead voice we mean a solo instrument, a singer or any performance that needs to be highlighted. On the input of the SideChain channel of the plugin select the send channel that comes from the lead track, in our case the guitar. Make sure that the volume of the send is at 0dB and that it's pre-fader.

    Now select each band and select MID in each of them.
    Select each band again and select SC SOURCE - EXT.

    Now while the music is playing use the global Threshold control to reduce it on all bands equally until the needle is affected by the signal. To have a better idea select one of the middle bands, 3 or 4 offer a more realistic level of the instruments we are processing. Now use the global Range control to reduce it until you hear that the central signal is reduced by the dynamic movements of the lead track.

    Make the relevant adjustments with Threshold and Range and finally listen in context. To apply this trick on vocals just replace the guitar track for the main vocal track and insert copies of the F6 on the keys and guitar tracks. The advantage of using Waves F6 as opposed to a single band compressor in mid/side is that the sidechain signal will affect each band of F6 differently and duck the keyboards more in the octaves where the guitar is currently playing.

    Direct link:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Sound Design Techniques – The Killer Chain Part 2: Parallel Processing

    22:44

    Director and sound designer Graham Reznick, creator of the horror series Deadwax, shows us his unique parallel processing techniques for film sound design. Watch part 1 and download Graham’s free presets:


    Plugins used by Graham Reznick in this video:

    NLS:
    Renaissance Bass:
    F6:
    Aphex Vintage Aural Exciter:
    MetaFilter:
    Engima:
    L1:
    OneKnob Louder:
    Abbey Road Vinyl:
    Renaissance Verb:

    Music written & produced by Graham Reznick

    End credit music: “Deadfall” by BurningTapes

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    How to use Waves PuigChild 670 for Mid-Side Master Compression

    2:01

    The Fairchild 670 is a compressor that doesn't really offer as many parameters as modern compressors but it's particularly good sound and character compensates for the lack of buttons. One of the most important features of the original design is its ability to process Left and Right or Mid and Side signals independently which, combined with its particular frequency and color response, has made it a popular mix bus and mastering tool.

    In this video we share a way how to use and achieve the best results using our favourite version, Waves PuigChild 670. Our method consist in isolating the Mid and Sides signals, process them independently and then mix and balance them again to control the depth perception and punch of the mix using the built in output controls.

    Click this link to save an additional 10% off any purchase at Waves:

    From the website:

    Throughout the vinyl era, the original Fairchild 660 and 670 compressors were ubiquitous: From the recording studio to the record lathe, the Fairchild was renowned for its advanced compression techniques and incomparable sound. We’ve collaborated with GRAMMY-winning producer/engineer Jack Joseph Puig (U2, Rolling Stones, Lady Gaga) to capture every distinctive nuance and harmonic detail of the vintage Fairchild 670 device housed in Jack’s own studio.

    Modeled on a rare vintage Fairchild 670
    Lateral vertical mode (MS compression) for optimal stereo imaging
    Linked & unlinked modes

    Link:

    Enjoy!


    Bandcamp:

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    Top 5 EQ Plugins

    1:06

    Cool T-Shirts for EDM Fans, DJ-s & Music Producers:

    Here is a quick top I made of the best EQ Plugins in the world:

    1. FabFilter Pro-Q

    2. iZotope Ozone 7

    3. Waves Q10 & SSL G-Eq

    4. UAD Pultec Pro EQ & Passive EQ

    5. The EQ from your DAW

    If you don't want to spend hundreds of dollars on EQ Plugins, you can still do a great job with the EQ found in your DAW!

    So...what's your favorite EQ Plugin? Comment below!

    Also check these Cool T-Shirts for EDM Fans, DJ-s & Music Producers:

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    Controlling fret buzz on acoustic guitar with Waves F6

    1:46

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    Waves F6 Floating-Band Dynamic EQ:

    We want to control the hurtful noises made by the #strings when the fingers move on the #fretboard. For that we are going to use the #compressor of the highest band of F6.

    Turn band 6 into a shelf, press SOLO and start moving FREQ to the left while all you hear is noise, stop as soon as you start to hear defined notes, then back up a little.

    Turn SOLO and place THRESHOLD in the place where most of the notes end so that it is only surpassed by the annoying noises.

    Move RANGE to the left until the annoying notes are diminished considerably and put ATTACK to the minimum, we prefer to use all the available negative range & compensate with a GAIN boost.

    This is the same as using a de-esser but with the possibility of snooping inside. We are going to cut the sub low freqs now, activate the HPF and look at the area where the low freqs of the guitar form a descending ramp, place it there.

    Finally retouch the GAIN boost in band 6 to make sure we are not losing much brightness and if necessary adjust ATTACK and RELEASE according to the tempo of the performance.

    direct link:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    How to use Waves C6 Multiband Compressor

    4:11

    NOTE: on 0:53 instead of ONLY button if should say SOLO button and on 2:13 it should have said Next to the high band it is included a Q factor control for the 3 crossovers of the center section.

    C6 Multiband Compressor is useful for almost everything in a mix session, it offers the classic 4 bands of Waves C4 Multiband with its master controls and two additional bands that can be freely moved through the frequency spectrum. They also have control of the Q factor and offer additional support to the traditional bands and at the same time can be used as dynamic equalizers and even as an alternative to Renaissance DeEsser!

    In this video we explain step by step our procedure to use all the bands of this plugin using the controls of BYPASS, Threshold, Gain (both of them), Behavior and Crossover achieving at the end a uniform result improving the dynamic response and clarity of a section of strings and woodwinds.

    Click this link to save an additional 10% off any purchase at Waves:

    From the website:

    For years, the C4 has been a favorite of studio engineers the world over, and in live sound, it’s quickly become a must-have for front-of-house and monitor professionals as well. To create the C6, we took the tried-and-true functions of the C4, and added two additional floating bands plus a sidechain feature, for one-stop vocal and instrument shaping. Equally at home in the studio, live, and in post production, the C6 lets you zero in on problem frequencies with surgical precision.

    Perfect for de-essing and de-popping in the studio or onstage, the C6 gives you all the multiband compression and dynamic equalization you need to control, tame, and shape your sound.

    -Multiband compressor plugin
    -Internal/external sidechain per band
    -Individual band Listen -modeFour crossover bands plus two floating bands
    -Dynamic EQ, compression and expansion
    -Double precision bit resolution processing

    Link:

    Enjoy!

    Bandcamp:

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    Favoring vocal GROUP mixing over MULTITRACK mixing

    1:54

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    Instead of applying all the #mixing processes (EQ, compression, reverb, etc.) directly in each track of these choirs this time we decided to only use the correction processes and then #mix once grouped in the stems.

    In the multitrack we only inserted Slate VMS with the Neumann U67 (yes, we know we said TLM which could be, maybe, a more accurate description in the end), HPFs, De-Essers and Ultrapitch in some tracks and Reel ADT as we explained in these videos:

    Mixing SUPER POP vocal choirs with Waves plugins:
    How to use Waves UltraPitch Shifter to create POP/EDM Choirs:
    How to use Waves Sibilance De-Esser plugin:
    Secrets of Waves F6 Floating-Band Dynamic EQ (WINDOWS):

    So far all we have done is make sure that the tracks are clean, have the correct character and the necessary stereo and pitch effects. The mix as such, that is, the positioning of the vocals in the vertical, horizontal and depth planes It's going to happen in the groups...

    Here we applied dynamic EQ to control the resonances in the low mid zone when these are too much without diminishing the warmth and presence of the voice in the softer parts. Then we added the necessary brightness with our favorite EQ on vocals, the Pultec. These two processes have been used in all the chorus groups. Then where it has been necessary we've added dual compression, but there was no need to use much GR since the more overdubs are added to the group, the more stable the dynamic becomes.

    Using two or more compressors in series is a technique as valid as any, in this case we feel that some choirs did not have the strength and presence necessary with the Opto so we inserted a second FET compressor. Of course these things can only be noticed by listening in context... Finally we applied the reverb sends in the grups.

    The advantage of mixing in groups is not only to save the CPU but also to avoid creating phase problems between the different tracks of the group and in many cases this technique also sounds much more natural. In the main vocals we also used this technique only with different processes.

    Plugins used in this video:
    PuigTec EQs:
    F6 Floating-Band Dynamic EQ:
    CLA-2A Compressor / Limiter:
    CLA-76 Compressor / Limiter:
    iZotope / Exponential Audio R2:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Waves F6 External Routing, FL Studio Side Chain Tutorial

    3:16

    Today is a quick example of how to Sidechain and Externally Route plugins like F6 and others in FL Studio. Thanks for dropping by, be sure to like and subscribe with bell! ^^

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    TDR Nova GE vs Waves F6

    6:05

    Salut à tous!

    Dans cette vidéo je vous ai fais un bref comparatif de 2 égaliseurs dynamiques abordables.
    TDR Nova vs Waves F6!

    NOTE :
    Petite erreur de marquage de ma part pour le Threshold! oups :D

    ==========

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    How to set the Sidechain source with a Waves Plugins inside FL Studio 12-20

    56

    This is a quick tutorial for those who struggle to set properly the Sidechain source with a Waves Plugins inside FL Studio 12 or 20.

    The main tips is to use the VST3 version of the Waveshell1 container.

    The video show how to make the ducking effect on the bass accordingly to the kick with using the sidechain trick with the plugins F6 - Floating-Band Dynamic EQ by Waves.
    (it's only to demonstrate that the sidechain source is effectives, it's not a proper tutorial about the ducking effect).

    1- select the kick track on the mixer
    2- right-click on the bass track and select Sidechain to this track
    3- on the insert effect of the bass, choose the VST 3 version of the waveshell1 plugins (it' will not work with other version of VST like 1 or 2)
    4- This is the MAIN step: after have selected the plugins, go to the detailed settings -Wrapper settings - Processing and select the track 1 as stereo Aux In, and enable this channel.
    5- then, inside the plugins, select a band you want the effect, and on the area named SC Source, select EXT.
    6- make the tweak you want or follow mine (they are exaggerated but it's to make obvious the effect) and that's it !

    I hope it help ,)

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    #sebastiennova #flstudiotutorial #wavesvst

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    Como Contorlar Las Frecuencia

    9:43

    Plug-In --

    mrclassytunezz@gmail.com


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    Getting Creative Effects from Drum Loops and Other Samples

    20:54

    It’s attack of the killer transients! Audio mad scientist Tom Cosm goes extreme with drum sounds and other samples, creating surprising effects with the Waves Smack Attack transient shaper. Watch more:

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    Waves Smack Attack on a rap vocal

    5:17

    This video shows how I used the Waves Smack attack on a rap vocal

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    Introducing H-EQ

    54

    Buy Now:

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    Introducing the Brauer Motion Auto-Panner Plugin

    1:09

    Developed with Grammy®-winning mix engineer Michael Brauer (Coldplay, John Mayer, James Bay, Elle King), Brauer Motion is a creative circular stereo auto-panner designed to add movement and emotion to your mixes. Learn more:

    Music:
    Drum loop by Lo Moon –
    “Renegade” by RANN –

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    Dynamic EQ with MAutoDynamicEQ 8 - 3/6

    10:00

    Computer Music magazine gets hands-on with MeldaProduction's fantastic MAutoDynamicEQ 8! Full review at
    Get MAutoDynamicEQ 8 at

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    Master with 3 limiters!

    1:07

    Save an additional 10% off these limiters or any purchase at Waves Audio using this link:

    Watch How to start using Waves L316 Multimaximizer

    First a multiband #limiter to do the heavy work. We leave a margin of -1dB and lower Threshold until the reference meter reaches 0. Note that we use the K14 scale for music. The multiband limiter has the advantage that it reduces dynamic peaks in the area where they occur without affecting the rest of the spectrum. In the case of single band #limiters when, for example, a kick makes the circuit react, it will reduce the whole signal, creating for example a decrease in volume on the cymbals and guitars.
    #Waves L3-16 Multimaximizer direct link:

    Second a single band limiter. The work of this will be much less drastic, in some cases we use it only to reduce a couple more dBs and shape the transients but most of the time we only use it to capture the peaks that escape the multiband limiter.
    Waves L2 Ultramaximizer direct link:

    Finally a True Peak limiter. The job of this is to make sure that no signal exceeds -1dB when the signal is converted back to analog.
    WLM Plus Loudness Meter direct link:

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


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    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Studio One 4 | Waves Smack Attack & Sampled Drums | Impact XT 💯

    9:11

    Studio One 4 | Waves Smack Attack & Sampled Drums | Impact XT

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    Westcoast Type Beat

    New beats -

    Studio One 4 | Impact XT Tips & Tricks | Faster Workflow



    Studio gear:

    1. iMac (Retina 5K, 27-inch, Late 2015) 3.3 GHz Intel Core i5 24 GB 1867 MHz DDR3 AMD Radeon R9 M395 2048 MB

    2. DAW: Studio One 4, Logic Pro X, Machine 2

    3. JBL LSR 305 Studio Monitors & Yamaha HS8S Sub

    4. Audio Interface: Antelope Audio Zentour & UAD Apollo

    5. DAW: Studio one 3, Maschine 2, Logic x 10.3

    6. Software: Native Instruments Komplete 9, Tone 2 electra 2

    7. Console 1 MK2

    8. Sonarworks Reference 4

    9. Screen Video Capture: Screen flow 6.2

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    Gullfoss - Intensity og S73

    5:51

    3 spændende og anderledes audio plugins for mix og mastering.
    Skriv gerne i comments med dine erfaringer.

    Intensity


    Drawmer S73


    Gullfoss

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    C h a o s 3 0 3

    1:12

    Save an additional 10% off any purchase at Waves Audio using this link:

    Waves GTR3 page:

    The sound of 303 has been so used in the last 20 years that it is not really a novelty anymore. Adding traditional effects like filters, etc. does not change things much so we have decided to simply create a huge chaos and see what happens...

    To create chaos there is nothing like a good old #Whammy pedal. Here we inserted #GTR Pitcher and automated the PITCH control with the Pro Tools random pencil tool.

    With the rest of the controls in the default position, especially MIX in 50% to combine the chaotic signal with the original sound that is in tune with the song it is possible to add a lot of interest to the well-known sound of the 303 and at the same time add the unpredictability that turns it into something unique.

    When the track is returned to its original volume in the #mix it sounds in tune and in the end that is the most important thing. If it sounds good even chaos can be good!

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Mixing a Song with the Waves Abbey Road Vinyl Plugin

    29:58

    Watch mixing engineer Dave Darlington (Avicii, Sting) as he goes through the Vinyl plugin step by step and shows how he uses it to add the unique sonic qualities of a vinyl record—punch, warmth, cohesion—to a digitally recorded song. Learn more:

    00:00 General overview
    04:29 Quick tour of the plugin’s controls
    11:26 Using the plugin (piano/vocal verse): Lacquer vs. Print; TG desk; choice of turntables and cartridges
    14:36 Full-band chorus & bridge: more on the above controls
    21:15 Adding wow and flutter
    22:29 Phase distortion section
    23:50 Tone arm location’s impact on the sound
    25:17 Slow-down/stop mechanism
    26:53 Recap of various plugin controls

    Music: Crazy Under the Moon by Jacob Jeffries

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    The very unique Plugin Alliance MAAG EQ4 analyzed

    3:03

    #Maag Audio EQ4:

    The first thing we see is that the freq response is slightly altered. This may seem odd to digital users but an almost flat response is an impressive achievement in the #analog world and this plug is an exact recreation of a real #hardware.

    The second thing is that activating the AIR band produces an increase in the freqs of this band even when AIR GAIN is at 0. Use this in your advantage if you like to increase the clarity of a track naturally and discreetly.

    Changing the position of the frequency selector changes the position of the boost but does not change its gain. Note that although the Q-Clone display only reaches 16 kHz we can still see the influence of 40kHz in this area.

    The SUB band boost or cut 10Hz. This band is commonly used to reduce inaudible rumble but can also be useful to process sound effects for large and specialized sound systems such as cinema.

    As specified in the manual, part of what turned the hardware into a mitic device is that any boost affects the rest of the bands, this is not desired but rather a by-product of a clever design created to obtain a top sound quality and can be matched with LEVEL TRIM.

    The next 3 bands are bell-shaped and can cut or boost in 4 areas that are pretty unique in the world of analog EQs.

    -40Hz is below the root freqs of for example the kick but it can give it a different type of fat than, say, a 60Hz band.

    -160Hz is pretty much the main area of the electric bass, a little above the most known 120Hz. Also here lies the body of electric guitars and many other pulsed string instruments.

    -650 Hz is a mystical area in many instruments, it can sound very good or very bad, we can't think of a more exact explanation, only the suggestion to use it at discretion, it always leaves us surprised because it is almost never what we think...

    -2.5 kHz if it is clearly a presence frequency, many associate it with the clarity of the male voice and guitars. The most important thing is to know that differently from the previous bands this is a filter shelf, that is, it increases or cuts from around 2.5k up.

    -The AIR BAND is a shelf filter as well, it is the only band that allows to select the freq. The last position, 40k, goes far beyond the human hearing that usually goes up to 18-20k. As we saw in a previous video (Watch Low BOOST below HPF explained: the ends of the filter reach the audible spectrum, making this band a very special tool.


    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Pultec EQ & Vintage Ampex Tape: a very exciting combination

    2:13

    Save an additional 10% off any purchase at Waves Audio using this link:

    direct links:
    Kramer Master Tape:
    PuigTec EQs:

    This song is all about energy so we found a combination that applied in the #master channel sounds super active and exciting.

    The first thing was to increase the presence and the brightness. We used a #Pultec to increase the highs with a very wide curve (bandwidth) around 10kHz. Then we selected both low bands and increased them at the same time, let's copy these settings in Q-Clone to see why we did this... As you can see, the high band creates a boost in the area of presence and brightness while the rest of the spectrum remains practically unchanged. If we decrease the bass knobs we will see that these are responsible for achieving precisely this.

    The other process is Kramer #tape. Here we increased the record level until the meter's needle reached zero, then reduced FLUX. If we copy the settings to Q-Clone we will see how approaching the signal to the analog zero increases the saturation. Since FLUX represents the magnetic radiation (not Chernobyl radiation but similar) that emanates from the head, by decreasing it we reduce the saturation of the tape without affecting the saturation of the preamp. This also reduced the compression effect of the tape which helped us to keep the output volume in Unity without having to move Playback Level.

    Observe how the Q-Clone curve is affected when both plugins are activated in series.

    *All the music featured in this channel is our own unless otherwise stated. Reproduction is prohibited without the express consent of the authors.

    Enjoy!


    Discography:


    Buy the music:


    Use this link to save an additional 10% off any purchase at Waves Audio:

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    Audio Home Movies - Smack Attack

    2:56

    Quick demonstration of Waves Smack Attack plug-in using a live performance of a snare drum.

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    Slice EQ by Kilohearts - Professional Parametric Equalizer

    1:16

    Slice EQ gives you razor sharp 96 db/Oct filters and awesome precision in your work.


    Slice EQ is a modern parametric equalizer that will help you shape your sound to you liking in a heartbeat. Combine it with the free plugin Snap Heap to quickly set up modulations to give you movement in your mixes, or create great filter-sweeps.

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    Waves Mixdown | Chris Lord-Alge | First thoughts

    4:49

    Waves Chris Lord-Alge Mixdown | First thoughts

    Subscribe for more tutorials for mixing, mastering, music production and other good tips to do with music production.

    Email me for Skype lessons, mixing or mastering at: N828music@gmail.com

    Studio gear:

    1. iMac (Retina 5K, 27-inch, Late 2015) 3.3 GHz Intel Core i5 24 GB 1867 MHz DDR3 AMD Radeon R9 M395 2048 MB

    2. DAW: Studio One 3, Logic Pro X, Machine 2

    3. JBL LSR 305 Studio Monitors & Yamaha HS8S Sub

    4. Audio Interface: UAD Apollo

    5. DAW: Studio one 3, Maschine 2, Logic x 10.3

    6. Software: Native Instruments Komplete 9, Tone 2 electra 2

    Screen Video Capture: Screen flow 6.2

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    Dont be fooled by The Myth of GOOD SOUND

    1:35

    One of the most used arguments when #comparing the processing used in a track, similar #plugins from different developers or audio #mixing in general is this sounds better than this other. So we created two isolated audio examples for you to listen and find out which sounds better.

    Most people will agree that A sounds better; because it is more natural, detailed, has a wider frequency range, possibly brighter and with more low end information... Now if we listen to these same two examples in context with the rest of the song many will agree that A sounds too present and out of place while B camouflages itself better, sounding more familiar without attracting too much attention as befits an accompanying part. The real reason why some mixes sound more three-dimensional than others is CONTRAST.

    In case someone is asking what processes were applied to the examples. A is the original sound and B contains the following plugins:

    1 - Waves Rverb to make cymbals last longer(watch our previous video)
    2 - iZotope Vinyl to lo-fi the audio and focus the frequency range.
    3 - Waves NLS Console Emulation as we do in every track.

    Of course other people are going to hear the opposite, this is the reason that there are so many production styles in the world. We simply share ours...

    Enjoy!


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