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hi I'm Tony Maserati today I'd like to
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demonstrate the c4 now most of you know
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this plug-in as a multiband compressor
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and of course it is that and it does
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that really well what I've been using it
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for lately is to allow me to compensate
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for say in this case a singer's voice as
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it goes through different registers
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throughout the song let me just
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demonstrate for you I'm gonna work with
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an artist on Miraval entertainment named
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Cody Longo and this is a song called she
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said I'll play a little short snippet of
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this okay so you can hear that he's a
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bit a bit too much in the area of maybe
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240 somewhere in there could be 300 so I
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want to reduce that a little bit and
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instead of using an equaliser I'd like
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to try using the c4 now I've got a
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preset already so I can just go into my
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into my my settings and just load one
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which is great and I've got it set from
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about a hundred to six hundred Hertz and
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I'll solo that frequency for you
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[Music]
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now you can see that's where I want to
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reduce now I've already got it set but I
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can change the threshold the attack and
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release the attack and release are
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extremely important and I'll show you
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why here he is so load with the c4
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engaged don't tell me your name I don't
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care what it is don't know where you're
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from don't care where you live
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let's cut dude you know play the same
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section in bypass don't tell me your
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name I don't care what it is
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don't know where you're from don't care
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where you live let's cut to the chase
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I'm not playing games okay I'm gonna put
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the c4 back in we're gonna get a little
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more radical with it I'm gonna I'm gonna
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make the attack a bit quicker now the
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reason why the attack is so important is
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because your ear if you could trick the
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ear if you allow the ear to hear just a
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little bit of a particular thing and
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then take it away
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depending on how quick the rhythm is
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your ear will be totally satisfied and
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take it's a full frequency obviously if
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it's a if it's a legato note that's a
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different story and we we've got to deal
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with that but but in a case like this is
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very rhythmic so I can give the ear just
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a tiny bit of the attack and and
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actually slow the release down so that
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it lasts for almost the rhythm of those
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bits and let's see how that
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[Music]
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we're quick in the attack a little bit
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and I'm actually gonna grab a little bit
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more of that lower frequency as well
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don't tell me your name I don't care
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what it is don't know where you're from
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don't get I'm gonna quicken the attack
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on that as well do the J's most of them
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I give myself a little bit more range
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reducing noise just find if you up the
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frequency I'm at 6:51 now and I'm under
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a double mine don't waste my time but
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really and my T's will be you babe
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finding the correct attack and release
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times is really the key also finding the
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amount of gain reduction that you want
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in that frequency another thing that I
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quite often do is I'll push the the more
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audible frequencies so I'll give them a
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bit of gained like this the things that
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sort of give him presents right
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and then I'll chop them so I'll grab
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them after that I'll take them down just
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to the amount that they're up right so
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it gives the ear again and appearance
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like it's it's you hear something and
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then it and then I'm controlling it so
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all of this is about control of course
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right they'll do the same thing here
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again allowing that to grab relatively
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quickly
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I want it to just kind of pop out and
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and then get grabbed let's see what that
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does
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don't tell me your name I don't care
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what it is don't know where you're from
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don't care where you live let's cut to
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the chase I'm not playing games
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with your heart babe I'll be just fine
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if you decline I'm mad and you can hear
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that it's dollar tonight make up
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obviously I did this quickly but you get
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the point
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that I can manipulate the characteristic
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of the frequency content instead of just
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a queuing a whole bunch of something
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that I don't like out which may only be
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right for a small spot I mean look at
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this particular place where he holds us
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no tonight I bypass that no no no that
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section right no tonight you can see
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what's being reduced here is is a small
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fraction of what your name no way don't
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care where you live so pay attention to
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what's happening here you can hear how
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it's it's it's reacting differently to
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the different frequency content with
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your heart babe
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I'll be just fine if you decline I'm not
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going home alone tonight make up your
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mind this is a method that I use every
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day now no matter which vocalist I'm
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working on I find it to be the most
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useful way of EQ 'voice without removing
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the things in their voice permanently
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for the whole song it allows me to just
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control things a bit sometimes I put to
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see fors and what I'll do with the
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second c4 is I will use just one band if
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you if you've got a particularly harsh
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vocal you can still got that solo die
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still got the other c4 on you can grab
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that harsh
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and obviously I'm gonna solo this okay
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so I'm gonna see if we can yank that
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down obviously I don't want any gain
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there I just want to reduce and I'm
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gonna want it probably pretty quick get
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out of your hair cuz it's game we just
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having fun there's little to be made
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let's cut to the chase I'm not playing
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games
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it matters will be you babe okay so you
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can see that it dulls it up in this case
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it might not be as harsh as as that
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treatment requires get out of your hair
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cuz it's time to escape we just having
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fun there's little to be made let's go
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dude but you can get the concept that
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you can use it to to focus in on
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something that you don't like and just
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pull it down I recently was doing a mix
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of a Beyonce track there was some some
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singing and then some breaths and the
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breaths were really loud and I used a c4
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because most of the singing was a sort
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of a bass tone and that breaths
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obviously were very specifically in this
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mid right upper mid-range area so I was
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able to actually equalize the breaths
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with that bass tone quite well to a
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point where I could control it you know
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in in incremental DBS which was really
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fantastic to get this mix correct the
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idea of focusing your your equalization
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and manipulating that the the attack of
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of those particular bands is really
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really useful a much more so than than
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just EQ11951
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