![]() I tried adding some Compression to the Output Channel but we even found that this was taking some of the air and drama out of the mix. In this mix we tended to avoid too much compression, which is a little unusual for a commercial, but not at all for drama. The actual values of your high-pass and your low-pass filters will depend on the lowest/highest frequencies you cut out of those tracks. Step 4 EQ (submix) Just like the previous EQ phase, we’re going to simply clean up the frequency spectrum. It also means that a quick skim across the mixer reveals very clearly, which Channels have EQ applied and an overview of what it’s doing. Once you’ve routed all of your tracks to a sub-mix, we’re ready to start mixing the sub-mixes. The thing that’s great about this if you’re coming from years with Soundtrack Pro is that one of the most common things you do in a mix is apply and tweak the EQ and here it’s a simple matter off double-clicking that graph to add or adjust the EQ. This’ll open the audio preferences window. ![]() In this course, Scott Hirsch takes you over the. One of the things I like about Logic Pro 9 is that any Channel on the Mixer that has the Channel EQ as an Insert Effect (plugins applied directly to the Mixer Channel) displays the EQ curve on a display at the top of the Channel Strip. Open the Logic Pro X dropdown at the top left of your screen, open the Preferences menu, and select Audio. Logic Pro X combines the best of both worlds: features to bring fresh musical ideas to life, and tools to derive the most from a performance. In most sound mixing Equalisation & Compression are vital tools and no less so in Film & TV mixing. I’ve always felt privileged to have a front row seat when watching a great mixer or colorist in full flight, and yet I always wanted more time, more freedom and a more direct connection to the material. In many ways, my experiences with sound studios over the years has been similar to my relationship with colour grading suites. Until Soundtrack Pro came bundled with Final Cut Studio, there was a big gap between mixing as best you could in your editing application and handing the files over to a traditional sound studio. Having worked in radio briefly before getting into the camera department at a TV station, I’ve always retained an affection for sound and mixing in particular. A bit about transitioning from Soundtrack Pro: I recommend Logic users and non-users alike taking a look. Ben has even provided a download link to the full project so you can muck around in his mix and absorb some of his power, Ravenous-style. I personally use Logic Pro all the time and take great joy in seeing stuff like this floating around. Ben Allen has written up a fantastically detailed and informative post on Logic Pro for Film & TV Mixing. ![]()
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