Original subtitles

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

demonstrate the c4 now most of you know

this plug-in 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 say in this case a singer's voice as

it goes through different registers

throughout the song let me just

demonstrate for you I'm gonna work with

an artist on Miraval entertainment named

Cody Longo and this is a song called she

said I'll play a little short snippet of

this okay so you can hear that he's a

bit a bit too much in the area of maybe

240 somewhere in there could be 300 so I

want to reduce that a little bit and

instead of using an equaliser I'd like

to try using the c4 now I've got a

preset already so I can just go into my

into my my settings and just load one

which is great and I've got it set from

about a hundred to six hundred Hertz and

I'll solo that frequency for you

[Music]

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

extremely important and I'll show you

why here he is so load with 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 dude you know play the same

section in bypass 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 okay I'm gonna put

the c4 back in we're gonna get a little

more radical with it I'm gonna I'm gonna

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

your ear will be totally satisfied and

take 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

[Music]

we're quick in the attack a little bit

and I'm actually gonna grab a little bit

more of that lower frequency as well

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

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

don't get I'm gonna quicken the attack

on that as well do the J's most of them

I give myself a little bit more range

reducing noise just find if you up the

frequency I'm at 6:51 now and I'm under

a double mine don't waste my time but

really and my T's will be you babe

finding the correct attack and release

times is really the key also finding the

amount of gain reduction that you want

in that frequency another thing that I

quite often do is I'll push the the more

audible frequencies so I'll give them a

bit of gained like this the things that

sort of give him presents 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 and 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 they'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 babe I'll be just fine

if you decline I'm mad and you can hear

that it's dollar tonight make up

obviously I did this quickly but you get

the point

that I can manipulate the characteristic

of the frequency content instead of just

a queuing 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 us

no tonight I bypass that no no no that

section right no tonight you can see

what's being reduced here is is a small

fraction of what your name no way don't

care where you live 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 with

your heart babe

I'll be just fine if you decline I'm not

going home alone tonight make up your

mind this is a method that I use every

day now no matter which vocalist I'm

working on I find it to be the most

useful way of EQ 'voice without removing

the things in their voice permanently

for the whole song it allows me to just

control things a bit sometimes I put to

see fors and what I'll do with the

second c4 is I will use just one band if

you if you've got a particularly harsh

vocal you can still got that solo die

still got the other c4 on you can grab

that harsh

and obviously I'm gonna solo this 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

gonna want it probably pretty quick get

out of your hair cuz it's game we just

having fun there's little to be made

let's cut to the chase I'm not playing

games

it matters will 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 hair

cuz it's time to escape we just having

fun there's little to be made let's go

dude 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 I recently was doing a mix

of a Beyonce track there was some some

singing and then some breaths and the

breaths were really loud and I used a c4

because most of the singing was a sort

of a bass tone and that breaths

obviously were very specifically in this

mid right upper mid-range area so I was

able to actually equalize the breaths

with that bass 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 your your equalization

and manipulating that the the attack of

of those particular bands is really

really useful a much more so than than

just EQ