Introduction to FabFilter plugins

Here, students will learn about Fabfilter's gate plugin Pro-G.

Students will learn about the fundamentals of the 'oversampling' option available in some Fabfilter plugins.

Information about the problems of 'aliasing' are investigated here.

What is dithering? And why is it important?

A more thorough look at using Pro-G to minimise background noise.

Make the most of presets to get started and adapt them to suit your requirements.

The importance of setting the threshold correctly.

Pro-G is equipped with different algorithms specific to different styles of audio content.

Adjusting the ratio and range parameters allows us to reintroduce user defined amounts of pre-gated audio.

A further look at adapting the two related dials that link to the main threshold parameter.

We learn how to adapt the gated sound with time, knee and style parameters.

Using the Pro-G meters are looked at here to help set the parameters at optimum points.

We look at options to create parallel processing mixing.

A look at using multiple gates to edit a stereo recording.

An overview of Fabfilter's reverb plugin.

Information about what reverberation is.

Here is a tour of the main parameter dials found in Pro-R.

We now look at understanding and adapting Pro-R space sizes.

Predelay functionality is shown here to illustrate a method of creating space.

In this tutorial, we get familiar with the Decay Rate EQ functionality in Pro-R.

We now look at adapting some of the Pro-R parameters.

We take a first look at Pro-DS here and look at preset options along the way.

Here, we look at the principles of deessing with Pro DS and we see examples of attenuating the decay rate eq in Pro-R.

Here we use the threshold and range dials to set up the correct input and attenuation amounts appropriate for subtle de-essing.

We look here at the relationship between the threshold and range dials with the level meters at the right of the Pro-DS UI.

We now look at how the different meters work with the detection options to optimise sibilant reduction.

We look at choosing the correct mode for the type of audio being processed with Pro-DS.

We look at compression in general before being introduced to the Pro C2 UI.

We now look at adapting the range slider to soften compression over time.

Using the Attack and Release dials means we can adapt the way compression begins and ends.

Here, we look at using the Dry dial to create parallel processing.

We look here at other ways to compress audio files. Instead of compressing the whole file though, we use multiband compression to apply different amounts of compression across different frequency areas.

The difference and similarities of compression and expansion.

A look at the Saturn 2 UI and its various parameter options.

We now look at Saturn in ise processing a dry, clean guitar file.

Here, we listen to the sound of Saturn adapting the cajon audio heard earlier in the course.

A full mix is now processed with Saturn.

A closer look and explanation of the band controls.

We look here at how using the X/Y controller allows us to morph between different bands to create movement.

Our first look at adding and adapting frequency points ready for equalisation with Pro Q3.

We now look at adapting slopes to dictate the severity of EQ adjustments.

We now look at adapting multiple nodes to alter the frequencies of specific and distinct frequency areas.

We look here at the dynamic EQ option that allows us to constantly adapt a frequency band dependent on input volume.

A look at adapting the dynamic controls.

A look at adapting frequency bands by using musical notes.

A tour of the user interface.

Here, we listen to extracts from three songs with L2 increasing the gain to offer a perceived louder volume.