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The Image Line Support Team.
We noticed a few people missed the introduction of Layer Randomization in FPC. This video shows where the control is and how to use it.
You can download the FPC Hi-Hat example used in this video from this Looptalk thread.
Left-click the randomization button to activate it, then overlap the velocity ranges of the Layers to be randomized. If you have enough layers you can have different randomization groupings over different velocity ranges. Note: Lock Layers (the similar looking button on the left side of the velocity preview strip) must be disabled to overlap layers.
Right-click the switch to select from:
Cycle - Each Layer in the velocity group will be played, in turn, each time that velocity group is played.
Random - Layers are played at random from the velocity group.
Random (avoid previous) - Layers are played at random from the velocity group, with the restriction that the same Layer will never be played twice in a row. Random selection can sometimes cause a singe Layer to be played repeatedly, defeating the purpose. This random option can help to avoid obvious identical hits with repeated fast playing of a pad.
TIP: Generally the Random function is designed to select from a number of samples played at similar velocities, with subtle and natural variations between them caused by human inaccuracies or left/right hand variations. Layer randomization eliminates the artificial and mechanical sound often associated with a single sample rapidly played. You will find however by equalizing the volume of a number of Layers (use the Layer Volume knobs) played at even very different velocities, natural playing can be 'faked' with only a few sample Layers.
In this tutorial we explore three methods for de-essing vocals in FL Studio using the tools supplied.
Most good de-essers are simply band-limited compressors repackaged and labelled so they can be called a 'de-esser'. So if you have a multi-band compressor, you have a de-esser.
There are two main modes you may want to de-ess in, peaking (a narrow-band) or shelving (starting at a given frequency and upward). Both the Fruity Multiband Compressor and Maximus can operate in either mode. Use the Mid band for peaking or High band for shelving.
We use a multi-band compressor to de-ess because we want to limit the loudness of specific frequencies, usually between 4,000~12,000 Hz. This is where all the 'sibilant' sound energy lies. Further, we only want to compress the sibilant frequencies where they occur. So what's wrong with an EQ? The problem there is that you cut the same frequencies across the whole track and often make it sound dull. Compression, with the correct threshold and ratio settings, cuts the sibilants only when they exceed an acceptable level.
If you want to see the best example of a voiceover that needs some serious de-essing check this YouTube video "Soundproofing / Noise Reduction Tips: Sound Decibels & Frequency by Audimute". Don't you just want to de-ess that one :)