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The Music Producer's Ultimate Guide to FL Studio 20

You're reading from  The Music Producer's Ultimate Guide to FL Studio 20

Product type Book
Published in Feb 2021
Publisher Packt
ISBN-13 9781800565326
Pages 336 pages
Edition 1st Edition
Languages
Author (1):
Joshua Au-Yeung Joshua Au-Yeung
Profile icon Joshua Au-Yeung
Toc

Table of Contents (18) Chapters close

Preface 1. Section 1:Getting Up and Running with FL Studio
2. Chapter 1: Getting Started with FL Studio 3. Chapter 2: Exploring the Browser, Playlist, and Channel Rack 4. Chapter 3: Composing with the Piano Roll 5. Chapter 4: Routing to the Mixer and Applying Automation 6. Section 2:Music Production Fundamentals
7. Chapter 5: Sound Design and Audio Envelopes 8. Chapter 6: Compression, Sidechaining, Limiting, and Equalization 9. Chapter 7: Stereo Width – Panning, Reverb, Delay, Chorus, and Flangers 10. Chapter 8: Recording Live Audio and Vocal Processing 11. Chapter 9: Understanding Vocal Effects 12. Section 3:Postproduction and Publishing Your Music
13. Chapter 10: Creating Your Own Instruments and Effects 14. Chapter 11: Mastering Fundamentals 15. Chapter 12: Branding, Promotion,and Marketing 16. Chapter 13: Publishing and Selling Music Online 17. Other Books You May Enjoy

Using multiband compressors

To find a nice balance between loudness levels and frequency levels, we use compressors, limiters, and expanders to adjust dynamics. Basic compressors work by reducing the dynamic range. We discussed compressors in Chapter 6, Compression, Sidechaining, Limiting, and Equalization. Refer to that chapter if you need a refresher on how compressors work. When mastering, we use an advanced form of compressor called a multiband compressor. By the end of this section, you'll know how to apply multiband compression with any multiband compressor plugin.

Let's discuss the theory behind using a multiband compressor and then show an example using FL Studio's Maximus. Multiband compressors allow you to isolate frequency ranges and apply compression to each region. This way, you can bring up or down the level of the low, mid, or high frequencies separately. For example, say your low-frequency sounds needed compression but not the rest of your frequencies...

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