All language subtitles for 11122233344X4555666

hi I'm Tony Maserati today I'd like to

demonstrate the C4 now most of you know

this plugin as a

multiband

compressor and of course it is that and

it does that really

well what I've been using it for lately

is to allow me to compensate

for uh say in this case a singer's voice

as it goes through different registers

throughout the song Let Let me just

demonstr great for you I'm going to work

with an artist on miror ball

entertainment named Cody

Longo and this is a song called she said

I'll play a little short snippet of

this it is don't know where you're from

don't care where you live let's cut to

the chase I'm not playing

games with your heart bab I'll be okay

so you can hear

that he's a bit a bit too much uh in the

area of uh maybe 240 somewhere in there

could be

300 um so I want to reduce that a little

bit and instead of using an equalizer

I'd like to try um using the

C4 now I've got a preset already so I

can just go into my uh into my my

settings and just load one which is

great and I've got it set from about 100

to 600 Hertz and I'll solo that

frequency for

[Music]

you now you can see that's where I want

to reduce now I've already got it set

but I can change the threshold the

attack and release the attack and

release are are extremely important and

I'll show you why here he is soloed with

uh the C4

engaged don't tell me your name I don't

care what it is don't know where you're

from don't care where you live let's cut

and I'll play the same section in

bypass where you're from don't care

where you live let's cut to the chase

I'm not playing

games okay I'm going to put the C4 back

in we're going to get a little more

radical with it I'm going to I'm going

to make the attack a bit quicker now the

reason why the attack is so important is

because your

ear if you could trick the ear if you

allow the ear to hear just a little bit

of a particular thing and then take it

away depending on how quick the rhythm

is is your ear will be totally satisfied

and think it's a full

frequency obviously if it's a if it's a

Legato note that's a different story and

we we've got to deal with that but but

in a case like this is very rhythmic so

I can give the ear just a tiny bit of

the attack and and actually slow the

release down so that it lasts for almost

the rhythm of those bits and let's see

how that works

tell maybe a little quicker on the

[Music]

I'm going to Quicken the attack a little

bit and I'm actually going to grab a

little bit more of that lower frequency

as

[Music]

well I'm going to Quicken the attack on

that as

well I'm also going to give myself a

little bit more range so I'm reducing

more

just fine if

you I'm not frequency I'm at 651 now and

100 mind don't waste my time but really

it might as well be you babe finding the

the correct attack and release times is

really the key uh also finding the

amount of uh gain reduction that you

want in that frequency uh another thing

that I quite often do is

I'll

push the the more uh audible

frequencies um so I'll give them a bit

of gain like

this the things that sort of give him

presence right and then I'll chop them

so I'll grab them after

that I'll take them down just to the

amount that they're

up right so it gives the ear again an

appearance like it's it's you hear

something and then it and then I'm

controlling it so all of this is about

control of course right and I'll do the

same thing here again allowing that to

grab relatively quickly I want it to

just kind of pop out and and then get

grabbed let's see what that

does don't tell me your name I don't

care what it is don't know where you're

from don't care where you live let's cut

to the chase I'm not playing

games with your heart B I'll be just

fine if you deine I'm not you hear that

it

[Music]

get obviously I did this quickly but um

you get the point that I can

manipulate the

characteristic of the frequency content

instead of just eqing a whole bunch of

something that I don't like out which

may only be right for a small spot I

mean look at this particular place where

he holds this note alone tonight now if

I bypass that alone tonight now that

section right there alone tonight you

can see what's being reduced here is is

a small fraction of what might be

of

the so pay attention to what's happening

here you can hear how it's it's it's

reacting differently to the different

frequency content I'm not playing

games with your heart bab I'll be just

fine if you decline I'm not going home

alone tonight make up your mind

this is a a method that I use every day

now uh no matter which vocalist I'm

working on I find it to be uh the most

useful way of eqing a voice without

removing the things uh in their voice

permanently for the whole song it allows

me to just control things a bit

sometimes I put two C4s and what I'll do

with the second C4 for is um I will use

just one band if you if you've got a

particularly harsh

vocal um you

can uh i' still got that soloed I still

got the other C4 on you can grab that

harsh spot and obviously I'm going to

solo

this

just there's to be let's cut to the

chase

[Music]

okay so I'm gonna see if we can yank

that down obviously I don't want any

gain there I just want to

reduce and I'm going to want it probably

pretty quick get out of your head cuz

it's time to ESC we're just having fun

there's love to be made let's cut to the

chase I'm not playing games it might as

well be you babe okay so you can see

that it dulls it up in this case it

might not be as harsh as as that

treatment requires get out of your head

cuz it's time to escape we're just

having fun there's love to be let's cut

but you can get the concept that you can

use it to to focus in on something that

you don't like and just pull it down uh

I recently was doing a mix of a Beyonce

track there were some uh some singing

and then some breaths and the breaths

were really loud and I used a C4 because

most of the singing uh was a sort of a

Basse tone and that breaths obviously

were very specifically in this mid upper

mid-range area so I was able to actually

equalize the breaths with that base tone

quite well to a point where I could

control it you know in in incremental

DBS which was really fantastic to get

this mix correct the idea of focusing um

your your

Equalization uh and manipulating that

the the attack of of those particular

bands is really really useful much more

so than than just eqing

something