At the beginning of the plug in equalizer and set the high-pass filter ( go down from about 80 - 100Hz , 30Hz remove everything below ) . At this stage, we can cut the rumbling and rezonansujące frequency , reduce sibilance and conquer the higher frequencies that will add clarity and air. I suggest you check experimentally in turn raise by about 2 dB frequency of the following ranges and choose the one with the voice sounds best at 5-7 kHz , 7-9 kHz , 13-16 kHz.
Then turn on the track compressor . The attack should be fast , say 5ms , release - about 50ms , the final values are selected experimentally . Ratio 4:1 to 5:1. Noise value at the moment do not move .
Now we plug in the wake limiter . Parameter ceiling (if any) set slightly below zero. If the limiter has a release parameter , its value should be chosen experimentally . Then set threshold - set it pretty deep , as far as glide down our signal starts raising the volume and take shape . If there is no distortion , and we feel that we have been more headroom , go down until the threshold when the signal will be reduced by about 3 to 6 dB. Be sure to observe the indicator.
Then we go back to our compressor. We have already set all the parameters except for the threshold ( threshold ) . Now descend Threshold compressor so low , until we get a satisfactory result. Sometimes the compressor simply a reduction of 3 dB , but if we feel that we have a store and it is beneficial , we can reduce the signal of 6, 9 or even 12 dB. If you are pumping or wording change to another negative way , it means that pszesadziliśmy and signal reduction is too large. In general, we can safely reduce the signal by about 6dB . But there are no rules , I encourage you to experiment . When we set the threshold in the compressor can compensate for the reduction in the compressor gain twirling lightly . Due to the fact that the pre-set limiter strongly pulls the signal does not have to compensate for the reduced total makeup gain in the compressor signal . It can be assumed that compensates for half ( or less) reduced the signal. So , if the compressor reduced the signal by 6dB , then we can conquer the compressor gain of about 2 - 3 dB . Please note that we are working on very large levels and use extreme settings, it is always a risky game , so be sure to leave yourself a margin of safety. When you set a compressor , limiter back again to finally adjust the levels .
We look for the second time to the limiter , we look at the index and listen to the track. The initial setting limiter ( 3 - 6 dB reduction ) were we need so that we can work on a strong signal . Now we have to make the final decision . If the audio is decent and we hear that we supply , we can reduce the signal further and squeeze a few more dB of limiting . But there is always the risk that przewalimy . Just the longer we work with a loud sound , the ear is less sensitive to changes and sometimes just the other day we hear that we gave too much ” boost ” . Here we must be guided primarily by hearing, and common sense. Besides, various limiters cope differently with the signal , so we have to rely on hearing. Sometimes we can finally pull off a very low threshold - so that we reduce the signal by up to 6 or 9 dB and the sound is still clear , strong and claw. However, such a strong reduction will sometimes introduce too much distortion , so caution is recommended . Safe limit is 1 to 3 dB reduction , but always worth checking threshold we have ” headroom ” .