11/25/2023 0 Comments Rode caster pro![]() The Big Bottom is tuned to around 112.2 Hz, with a 20% Drive. This is a real enhancer of the voice, like the Low and High Frequencies on the old DBX units. I’ve set the Mid Bell to around the 1,450 Hz range with a -1.4 dB Mid Gain (for my voice), and the Low Bell at the low frequencies of 112.4 Hz, with a 0.6 dB Low Gain. ![]() This is the bit everyone loves because it gives that unique studio sound, so I’ve put the High Bell right up at the high-end of about 12,000 Hz to give my voice that nice, crispy sound, with a High Gain of 3.0 dB. This will give it a bit of make-up when it compresses down some of the loudest parts of the speech. Make sure to turn those right down, and increase the Gain by about 2.0 dB. This is a great speech compression ratio (any higher would go into radio imaging, any lower, we’re not really compressing). Here, I’ve got a light Compressor, with Threshold at -24.0 dB, Ratio at 3:1. I leave the Hysteresis at 0.25 (although, I haven’t found this setting super important for my Noise Gate).Range at 30.0 dB (to help the Noise Gate work).The Hold at 50.0 ms (increase this if your words are getting clipped).I have the Attack at around 100.0 ms to give it a bit of leeway before it kicks in.Equally if you’ve got a super quiet room, you can turn it right down. If you’ve got a louder room, you might want to make it slightly higher. I’ve also got a Noise Gate with the Threshold at -45.0 dB.I would recommend you to do analysis in Adobe Audition to find out what’s best for you. The Frequency, for me, is at around 7 kHz. I’ve also added a little bit of Gain to make sure I’m turning down just that much more. Attack and Release are as quick as possible. Here, I’ve set my Threshold at -27.0 dB, with the Ratio at 3:1. It can be great to roll off the low-end frequencies and get rid of rumble and hum (particularly if you’re near roads, airports or similar). If I do decide to do that, I’ll do it in post-production. My reasoning behind that is that I don’t need to roll off any bass on my microphone. In my set up, the High-Pass Filter is completely disabled. Start by choosing mic channel one on your RODECaster Pro II and you’ll notice there’s a few simple effects to work with that can easily be tweaked to suit your needs: The High-Pass Filter ![]() Remember, though, that your settings might be different to mine as you might have a different microphone, different set up, more room noise or sibilance in a different part of your voice, so this is just an example. It’s pretty good, and I’ve had a few weeks now to use this piece of kit and discover what I find to be the RODECaster Pro II’s ULTIMATE settings – and I’m going to share them with you in this blog! Featuring four microphone inputs with studio-grade preamps for recording crystal-clear audio, smartphone, USB, and Bluetooth channels for seamlessly integrating remote guests, eight sound pads for triggering music and sound effects, powerful audio processing at the touch of a button and so much more, the RØDECaster Pro is all you will ever need to create incredible podcasts.Recently, the simple and fascinating RODECaster Pro II has become my integrated audio solution for all my production needs. Designed to offer superb audio quality and expansive features while being incredibly easy to use, it's the ultimate tool for beginners and professionals alike. The RØDECaster Pro™ is the world's most powerful all-in-one solution for podcasting. ![]()
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