Learn about Sage Audio here: www.sageaudio.com If you’re new to Sage Audio, we’ve been providing industry-leading audio engineering services and education for over two decades and created this channel to help you make professional songs.
@@UgoSantawhy? I’m curious. I came to the comments to understand what exactly it does. I didn’t understand what he meant about the resonances in the video.
Some really useful tricks again, thank you very much. Just a quick note to your otherwise amazing presentation: I would prefer if you could do the comparison switch one or two times more often, so there is more time to focus on these sometimes subtle enhancements.
@@sageaudio I concur! I believe I mentioned this to you a while back but when dealing with these quick AB examples it’s much easier to hear the differences when comparing the same section of audio.
Great tutorials, I wish you'ed adjust the before and after listening time to longer sections. This vocals first line tonally a lot more full bodied than the after coming line that sounds very thin in comparison. The difference is so big that it's hard to hear what actually is happening. I find the best before and afters are those where the exact same line is looped between before and afters. You will get all the newbees to hear the subtileties a lot easier. But still top notch tutorials though🙌 Thanks for all the goodies!
Thanks for subscribing, definitely check out our online membership if you're finding yourself wanting even more resources than just our videos! www.sageaudio.com/
I don't see why using a detuned sidechain for soothe would be any good. As you showed, soothe reacts to the detuned frequencies and attenuates "resonances" in those areas, leaving the general vocal frequencies alone. So it basically attenuates more in the high end because the frequency differences are small compared to the bandwidth applied by soothe. Effectively this results in a duller tone which is audible in the video. Personally I would add a high-shelf afterwards to balance the tone out again. Why apply that "trick" for then?
On the first trick, it might be interesting to use a mix of +50 cents and -50 cents (minus 3 decibels each) for the side-chain input. Or alternately, it could be interesting to subtract an auto-tuned version of the performance from the original and feed the delta into the side-chain. Maybe it'd be a smoother, less-jarring retuning?
@@steamer2k319 that sounds lije it makes a lot more sense than just a random half step. Although you might introduce issues similar to phasing this way, where you might lose volume on more out of tune parts. I still don't fully get what this trick is supposed to do.
there’s a few problems on the soothe2 trick but it is a creative trick having a copy of the vocal which is identical will track the same issues the vocals track the same frequencies but just offset by +1 the duplicated sidechained input should have unipolar values and a way to decide how much the spread is what i suggest instead is having soothe2 in delta mode and dry/wetting it with the original signal, but to be honest as nice as it sounds in theory it will most likely sound like phased out dogshit best fix is just probably manually automating out problematic frequencies or putting it into melodyne to edit the harmonic levels
i also recommend avoiding using rx since its introduces artifacts or surpresses a lot of harmonics etc from otherwise good stuff spiff is excellent for removing harsh clicks etc, from guitars to vocals, percs etc but best for vocals is always just proper vocal riding and editing (fading etc)
Unfortunately if you're not careful de-click removes fry, and in this example it does a bit at the end. In my experience it's best to select problem spots only in the RX standalone
Have you tried assigning RX as your audio editor in Logic? You can then use SHIFT W to pull any region into RX and when you’re done processing the audio you go into FILE and OVERWRITE the file. I’ve never had any latency issues with that.
What is the point of that soothe technique? You're tucking away resonances where there aren't any. If you had stuck a formant filter on up a 5th or tuned the trigger vocal down an octave at least it would correlate with the vocal being treated in some way. I'm going to try it, maybe I'll eat my words..
The first trick is the dumbest thing I saw… what’s the point of trying to fix problems by not trying to fix them. Most of the problematic frequencies that need to be attenuated are created by the pitch of the vocal recording.
Thanks for watching! From personal experience, Soothe 2 doesn't fix problems-it only attenuates resonances it deems too high in amplitude. For that reason, I rarely use it since, more often than not, what's deemed excessive resonance is really just an overtone/harmonic. With this method, I can keep the vocal's original overtones while attenuating out-of-key frequencies