This is just for the purposes of dialing in the sound you want. You’ll dial in the mix next.
Often, when people are new to using an equalizer, they listen for what is missing from their source sig-
nal and try to boost it in. But that’s not always the best solution. Sometimes removing the frequencies
that are drowning out the ones you want works best.
Dynamics processors can be difficult to work with at first, because they both reduce gain and amplify it.
Let’s take a look at a compressor for a moment. A compressor works by lowering the dynamic range—
and by extension, the gain—of a signal, but it also gives you a make-up gain control that allows you to
get some of that back. If you apply a lot of gain reduction to a signal, then boost it too far with the make-
up gain, your sound can get very unwieldy very fast. As with an EQ, only compress a signal as much as
you need to (unless you’re using it for a creative effect), and only gain it back up as far as you have to
for it to cut through your mix.
Step 3: Setting Your Mix—The Unity Myth
There is an unfortunate rumor that persists in the darker corners of the audio-nerd Internet. It states
that all your faders should be set to unity (that bold line in the middle of the fader markings at 0 dB). But
if you do this, you will limit the dynamic range of your signals—and not in a good way.
That bold mark next to your faders means just one thing: The channel and output mix level controls are
not adding or removing any amplitude (volume) to or from your signal.
Why do you need to know this? For input gain staging and dialing in your EQ and dynamics, of course!
With the channel and the main faders at unity, you can listen to an individual channel unadulterated
while you’re setting your input gain level and adjusting your EQ and dynamics to sculpt the sound.
Once that’s done, the fat line in the middle of the channel has largely served its purpose. Are you get-
ting too much of your animated guest caller in your headphones? By all means, go ahead and lower it.
Need to give your own channel a little gas to compete? That’s what that 10 dB above unity is for.
Like everything in audio, however, these rules aren’t absolute, especially in a live sound situation. If
you are gaining up a channel well above unity just for it to be heard in your mix, maybe your other chan-
nels are too loud. Try lowering the levels of the rest of your mix.
11.2
Microphone Tips and Tricks
Like any tool, a microphone must be used properly to get the best result. Professional broadcasters or
vocalists will tell you that good microphone technique is crucial to getting a good recording. How many
times have you listened to a podcast where it sounded like there was a wall between the on-air talent
and their microphone? Or the microphone was so close you could hear each breathe and every pop-
ping ‘P’ sounded like a mini explosion in your headphones?
Proximity to the microphone is the most common issue when anyone begins the process of learning
proper mic technique, but other issues, like background noise and improper gain staging, will exacer-
bate a poorly positioned microphone. Don’t worry, we’ve all been there, and PreSonus has put together
this tutorial to help you mitigate the most common mistakes people make when getting started record-
ing their voice with a microphone.
11.2.1 Handling Noise
Microphones are designed with different polar patterns. A polar pattern represents the particular areas
around the microphone’s capsule where it is most sensitive to sound. The most common pattern for
vocal and broadcast microphones is called Cardioid, because it’s heart-shaped—and this is the pattern
11.2 Microphone Tips and Tricks
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