วีดีโอ

Good question. This is why we came up with a newer method using the FX spacer. The whole point of the spacer is to delete the trigger (main input) channel. This prevents increases to the gain of the channels involved.

🎉🙌🎉

Thank you so much!! ❤️💕

Thanks mate!

Thank you so much 🙏

Hi 👋 if you’re referring to the difference in sound before and after the procedure, you’ll notice that at the end of the video, the kick signal causes the bass signal to be reduced when they are playing at the same time. Versus before the procedure, the level of the bass doesn’t change when the kick plays at the same time. If it’s still difficult to hear, maybe try setting it up and exaggerating the effect by for example by increasing the release time on the limiter. You can also increase the level of the kick that is being sent to the sidechain channel.

Thank you so much 😁

Hi there! Sorry for the late reply. It sounds like you are setting up multiple side chains between different basses and the same kick, resulting in multiplying the signal output of the kick, making it louder. Have you tried setting up the sidechain following the procedure in our second tutorial? th-cam.com/video/FE5aSeDHtMs/w-d-xo.htmlsi=KE2RNKngpIDjEgBS This method subtracts the kick signal from the sidechain channel using the FX spacer module. This should solve your issue of having multiple kick signal sounds being sent to the master. Let us know how it works! We are also trying to release a tutorial for sidechaining with the FX compressor rather than the FX limiter, which would give more control over the parameters of compression (attack, release, ratio, etc).

We’re using FL Studio Mobile for Android version 4.5.9 G

Thanks!

Hey we’d be interest in a collab. Would you like to start by sharing a project?

We will be releasing soon a tutorial on how to perform dynamic equalization on FL Studio Mobile for both boosting and cutting frequencies. Stay tuned and thanks for the comment! 🙏🏽

Hi there. What do you mean by “in basement”?

​@@LowLarBeatz The way you talking 😂 like hiding from someone

😂

Did you lower the 'MASTER send' in the kick channel (01:59 in this tutorial)? You could also turn off the 'MASTER send' in the kick channel, as shown in our short tutorial (th-cam.com/users/shortsBljkdgiL01g?si=KJnZjZQuhbLRRxEr). This way the kick's gain will be controlled only by the limiter.

@@LowLarBeatz i tried about 7 hours, i tried them all. Only decreasing threshold and increasing ratio and kick's gain are working. It was real hardcore difficult, even difficult as now I cannot find the mix preset i did. It is about the kick that I used and the cello I used. It is so bad hard, i got to find a method for that. Now I'm thinking of using a double channeled cello. Maybe more than one effect channel may work. I'll try later.

And for some reason the whole track sounds muffled after adding the limiter

Hi. Are you trying to duck the 808 when a kick sounds? That doesn't seem to be a problem on our end. But, if you are trying to duck other instruments when your 808s are playing then you could be seeing a sustained gain reduction on the limiter's display. Not so sure about the whole track sounding muffled... Maybe provide more information like what instruments are routed to the Limiter channel, which of these instruments is louder when solo'd (as shown on the limiter's display)?

Hey mate thanks for the feedback! We are definitely going to make a sidechain tutorial using the fx compressor instead of the limiter. We’ve got a lot of other requests for this and others so stay tuned 😉 Before that happens we suggest following our first sidechain tutorial until the chapter titled “Load limiter module”, and instead load up the compressor. If you set up the compressor so it acts like the limiter plug-in then you could follow the rest of our first tutorial to get the sidechain to work, and then afterward you may modify the compressor's ratio, attack, hold and release times to your liking. This is how you make the compressor behave as the limiter from our first tutorial: 1) turn off the auto gain and lower the level slider next to it to 0 dB (this allows you to control the makeup gain like in the first tutorial), 2) increase the ratio all the way up to +inf, and 3) lower the attack time to 0ms. From here on out, follow the tutorial steps making sure to take note of the following changes: The threshold is the same threshold referred to in the tutorial. The input gain curve (the one with the area underneath the curve shaded solid green) we refer to in the first tutorial in the limiter plug-in is represented in the compressor plug-in by the middle meter to the right of the compressor (the input meter).

Thank you so much 😊

Thanks for the feedback. Can you be more specific? Was there something lacking in the instructions or background? We would like to know what you mean.

@@LowLarBeatz the process to arrive at the destination of the desired result was extremely a long one. It requires professionality.

Hey, we understand it is a longer process than that outlined in our earlier tutorials. However, it is totally worthwhile because the process outlined in this video gives you a legitimate, clean sidechain in which you no longer hear the signal used for ducking, the trigger. Please check the description of this video, where we included a .flm file with tracks already sidechained as in this tutorial.

Thanks for the comment. Can you clarify a bit? Because currently you can send any track to another FX track for further processing on a compressor or any other FX module.

Hey, mate thanks for the feedback! That’s definitely in the works 😀 stay tuned!

Hey, thanks for the comment. Yes, a compressor would offer more control in regards to attack times, compression ratios, etc. We chose the FX Limiter in the tutorial because it offered a helpful visual display as opposed to the FX Compressor. However, if you’re going for a pumping effect and decide to use the compressor, we do suggest cranking up the ratio up to or near the point of limiting in order to produce significant ducking. 😊

How do i use a compresser?

I want to know also. 🤍

It's all good. Imitation is the sincerest form of flattery 😊

​@@LowLarBeatzso true! Anyway appreciate you making this video because FL studio themselves don't want to help their own community 😅 I have a question about how you level volumes when it comes down to mixing for head room and mastering?

Thank you for the support, mate. It’s truly motivating. Regarding your question, without overcomplicating things, load an FX Leveller on the Master track, play the mix from beginning to end and ensure (with the Leveller or Master fader) that your mix isn't peaking over 0dB, otherwise it will start clipping. Most will recommend that you leave a 6dB "headroom" (that is, level the loudest peak in your mix to hit at -6dB). But honestly that's an overkill, especially if you're planning to master your song on your own. Just level the mix track to -2dB or -1dB and you can always attenuate the level further during the mastering stage if you need. In addition to the FX Leveller, load an FX Analyzer and monitor the loudness of the master track (make sure the ‘LUFS 0.4s’ mode is selected). To guarantee enough headroom for mastering, make sure the loudest peaks stay between -17 and -15 on the LUFS meter. Aim for your final song after mastering to be around -14 LUFS integrated so that fewer adjustments will need to be made by a third party, for example most streaming services will adjust the song to this loudness level. Lastly, don't worry if the song ends up being somewhat louder than this - go with what sounds good to you 😁

Great idea. Sounds like you're looking to vary the volume or pitch of a sound with an LFO, which would result in a tremolo or vibrato effect, respectively. It is fairly simple to use an LFO in any of the synthesizer instruments (and the DirectWave sample player) on FLM since they all contain a dedicated LFO tab (or LFO controls under another tab) for doing just that. Next time you're on FLM, try playing with the amount (strength of the LFO), speed (the rate of oscillations) and target (choose either pitch or volume) on an LFO tab/controller.

​@@LowLarBeatzwhat should I keep as the LFO destination for that ?

To produce a vibrato choose "frequency" (usually abbreviated FRQ) as the LFO destination. As for producing tremolo, choose "level" as the destination. Note that some synthesizers (for example, minisynth) don't have "level" as an option for the LFO destination. In this case you could try setting the destination to another parameter, such as the filter frequency (usually abbreviated FLT), and try to mimick a tremolo effect, the success of which will depend on the amount of LFO applied (the more the merrier) and whether the cutoff frequency set in the synthesizer's filter tab is near the base end of frequencies produced by the particular sound you're working with.

Thanks mate, great suggestion. As gain staging is rarely so cut and dry it may take some time before we release a thorough FL Studio Mobile tutorial on the topic. In the meantime, for some basic and useful tips on getting started, we suggest watching: th-cam.com/video/pinNLBnBRe8/w-d-xo.html, while using FL Studio Mobile's very own FX Analyzer to monitor the loudness (e.g. in LUFS) of a given track.

Thank you very much for your support. We haven't forgotten about your suggestion to make a tutorial for dynamic EQ, and we're working on it 😁

Thank you! That’s awesome to hear! 😁

Thanks, mate! Hoping to bring more soon 🤞🏼

I'll be waiting🤩

@deaBroggn we really took your helpful comments to heart, and although we sadly can't offer an Autoduck feature as you described, we did devise a sidechain procedure that is as proper as it gets without being proper per se. Hopefully you can get some use out of it 😁 Link: th-cam.com/video/FE5aSeDHtMs/w-d-xo.html

Thanks for the support! Stay tuned for more 😉

Hey thanks for the feedback! Yeah, this method was really intended for one input, as you realized. We are releasing another tutorial soon, detailing a different approach to sidechain multiple inputs together, among other things. Stay tuned - we think it might help 😊 Regarding sidechaining the kick in the drum sequencer, have you tried cloning the kick sample? Because then you could send one kick to the master, and the other to the sidechain (limiter) channel. It would save you from having to create another FX channel 😉

@@LowLarBeatz Oh you mean taking one of the drum rack slots and putting the same kick in there but sending it to another channel? Good idea, that is a bit cleaner. Looking forward to more creative ideas from you!

@@DeaBroggn 👌🏼😀

@DeaBroggn Hey, we’re in the midst of making our next tutorial. In the meantime, your comment inspired us to find a solution to sidechaining multiple inputs. Check out our short that we hope takes care of this 😊 th-cam.com/users/shortsBljkdgiL01g?feature=share

@@LowLarBeatz Great, I'm gonna check it out!

Thank you so much. We are working on more so please stay tuned 😊

Alguna idea para hacer algo similar a un eq dinámico

@@JorgeGarcia-uh7uj Great suggestion. We have a few ideas 😉 we will see what we can do.

Thank you mate! 😊

Thanks so much for watching. Please stay tuned for more. We’re working hard 😅

Wow thank you this is amazing to hear! Please stay tuned. We are working hard to bring you more tutorials 😊

For sure! We'd love to hear what you'd like us to do next.

@@LowLarBeatz vocal mastering