1. When using two compressors in series on a vocal, what is a common approach for the *first* compressor (like an 1176)?
2. What is a typical role for the *second* compressor (like an LA2A) when used after a peak-catching compressor?
3. For parallel compression on a drum bus, why is the attack time often set slightly slower (e.g., 10ms)?
4. What is the purpose of the "Mix" knob when applying aggressive parallel compression?
5. What effect does the "OTT" plugin (or similar upwards compression) primarily have on a vocal?
6. When using multiple compressors on a rap vocal, what was the stated purpose of the C1 comp with a low ratio (1.22:1)?
7. When using two compressors in series with digital and analog emulations, what settings are suggested for the first "digital" compressor?
8. For the second "analog-style" compressor (like an opto) in series compression, what settings were recommended?
9. What frequency range is typically targeted by a multiband compressor when used as a de-esser on vocals?
10. In the FabFilter Pro-MB, what does setting the "Stereo Link" slider fully to the right (showing "M") allow you to do?
11. What is the main advantage of using a multiband compressor for de-essing compared to a full-band compressor?
12. How can Mid/Side EQ be used to enhance a beat while potentially making space for a vocal in the center?
13. What is the primary function of a *dynamic* EQ band compared to a static EQ band?
14. How can you make a dynamic EQ band on a bass track react specifically to the kick drum signal?
15. In Pro-Q 3, what does enabling the "spectral mode" (or similar function) on a dynamic cut achieve?
16. What technique involves duplicating an 808 track, high-passing one copy, and low-passing the other around 200Hz?
17. What is a suggested target peak level range for individual tracks like kick and snare after applying clipping?
18. What is the primary purpose of Gain Automation applied as the *first* plugin in a vocal chain?
19. When mixing a beat (2-track instrumental) with vocals, what is a suggested starting peak level for the beat using clip gain adjustment?
20. What is a suggested target average (RMS) level range for individual tracks during mixing?
21. On a drum bus, what processing might be used with a ceiling of -8dB and aiming for about 1dB of gain reduction, primarily affecting simultaneous hits like kick and snare?
22. What is the benefit of using a "ducking delay" on vocals?
23. How can Fruity Limiter be used to create a ducking effect for a delay send?
24. When setting up a ducking delay in a DAW using inserts, what is the recommended routing?
25. What settings are typically used for the compressor in a ducking delay setup?
26. Besides the typical "S" sounds (often 8-12kHz), what other frequency range is often responsible for harshness in vocals?
27. What is "dual-stage de-essing"?
28. What is an alternative method mentioned for controlling sibilance besides using a de-esser plugin?
29. Why might someone de-ess a parallel vocal track *before* boosting its high frequencies?
30. How does adding saturation/distortion (like with Decapitator) help make an 808 or bassline sound louder without increasing its peak volume?
31. When using Saturn II to brighten a mix or master by saturating only the high end, what is a common starting frequency range to target?
32. In Saturn II, what effect does linking the "Drive" knob to a transient envelope follower achieve?
33. When splitting an 808 into low (<200Hz) and high (>200Hz) parts, where is saturation typically applied for adding harmonics and perceived loudness?
34. For controlling bass frequencies, why might a low shelf EQ be preferred over a low cut (high pass) filter in some cases?
35. What frequency range is sometimes slightly cut on bass instruments to improve definition or make space for the kick?
36. What technique involving Saturn was mentioned for bringing low-level information up in the midrange (around 500Hz) of a bass sound?
37. What is the primary function of Soothe2?
38. In Soothe2, what does adjusting the EQ curve in the sidechain input section allow you to do?
39. What do the "Recover" and "Tame" functions in Gulfoss primarily control?
40. How were Soothe2 and Gulfoss suggested to be used subtly at the end of a vocal chain?
41. How can Soothe2 be used on an 808 track to specifically address clashes with a kick drum?
42. When using a doubler plugin on background vocals, what is the technique described to create width and leave space for the lead vocal?
43. What specific MSED EQ adjustment was suggested to make vocal effects (like reverb) sound wider without affecting the core vocal?
44. What technique involves duplicating a signal, making one copy mono with lows kept and highs rolled off, and the other copy stereo with highs kept and lows rolled off?
45. What type of plugin (like PS22X Split or Polyverse Wider) is used on the high-passed duplicate of an 808 in one technique described?
46. What is the fundamental difference in how a clipper and a limiter handle audio peaks?
47. Why might a clipper be used *before* a final limiter on a mix bus?
48. What is a key difference sometimes attributed to Maximizers compared to standard Limiters?
49. What does the "Enhance" function on the Oxford Limiter primarily aim to do?
50. What is the primary function of a plugin like Trackspacer when used on an instrumental track and sidechained to a vocal?
51. In Trackspacer (or similar plugins), what do the attack and release settings typically control?
52. What is the fundamental goal of "vocal comping"?
53. In Pro Tools, what track view mode facilitates vocal comping by showing multiple takes (playlists) simultaneously?
54. In Logic Pro X, what feature automatically organizes multiple recording passes on the same track section for easy comping?
55. In the described FL Studio comping workflow, what was the purpose of setting track properties to "Generic bleeding"?
56. After creating a vocal comp, what action permanently renders the selected edits into a single audio file on the main track?
57. What is the purpose of placing a compressor *after* the reverb plugin on a reverb send/bus, and sidechaining it to the dry vocal?
58. What is the formula provided for calculating an initial reverb decay or pre-delay time based on tempo (BPM)?
59. Why is it common practice to use high-pass and low-pass filters (EQ) on a reverb return channel?
60. Which type of reverb is described as being often preferred for vocals to add "liveliness" and typically sounds bright?
61. Which type of reverb is described as "thick and dense", often sitting *behind* the vocal to create a lush effect?
62. How can you calculate a musically appropriate subdivision of a reverb pre-delay value?
63. What is described as an "invisible layer of depth" for vocals in terms of reverb types?