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Compression

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Oleksii Surskov
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35 views6 pages

Compression

Uploaded by

Oleksii Surskov
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Wey COMPRESSION | TSN [i Welcome to the 5 minutes cheat sheet! It's small and easy to grasp. Remember to try the settings inside your DAW using drum loops, elements containing lots of transients, leads or vocals. The first main aim of mixing is to achieve a good balance of the instruments while maintaining the dynamics. When you can't find a particular fader setting, and you find that the dynamics are all over the place, you should consider applying compression. In some cases, you can use a transient designer to shape the transient of oleae Riel ea ane rae Ree cote Although compression can be used on all sorts of channels like busses, stacked leads, vocals, pads and basslines, I’m not a big fan of compressing everything (that’s a bad practice anyway). | like alternatively to use transient designers whenever possible to shape the transients of a signal and leave compression primarily to layered groups and busses because it irons out the difference in volume of the instruments in that group and ECR taT MM ESeLO NOM Renae Pushing your channel compressor too hard is a common mistake that slowly sucks the life out of a mix if it’s duplicated across many tracks. So even if compression is a subject well talked about in the audio community, if you don't need compression, it's better not to use it at all. TNS SST) Release <100ms ATTACK Rian led Pr) se Ft) a ase a w 2 5 a i} ae oar 9 ¥ ce re cols ~ 160 Bs PAS as 10 a ee) ee ee If you have a fast attack then the compressor will respond quickly to the short TVW Rel@e MeO ene Ue -A da eT A Le elm noma ago R OR EAR UEC Va elem eng Re A] NA well before the drum sound has finished, such that the lower-level tail of the drum hit won't be compressed as much. RESULT: Less Drum Transient TIP: TRY THE SETTINGS IN YOUR DAW USING YOUR $2 MUSIC TO BECOME FAMILIAR WITH HOW THEY SOUND Nie To SS) Release <400ms ATTACK ae S 20 = EC set . G cle} ee 500 15 ar n a ca i= = ~ 160 ea me 5S 10 . Oa 2) ees Using a fast attack and a slower release will cause a rapid compression onset, fo mda eo re Uae ena m AL e (Kellen ea eel Mala eo Tae) mostly between the hits. The dynamic range between the transient and sustain portions of the drum will change. The compressor makes the level of each drum hit sound more "ironed- out.” This is the perfect setting for parallel compression. ATTA MieiarL acto @-]nTe [on ole el RecA Rn eel eel elms N «(le tCl) (oe M MOON om am Co aD Rommel Rea aon an UCM make sure to adjust the release time to taste. S10] Cole Loa cc COR Sd & THE USAGE OF A TRANSIENT DESIGNER MIGHT WORK arm NUNC) ofoVigg Se eS CASES, ATTACK 15m) py ern 100 200 ’ [ee ) es arr) + ‘ ce 20 - eats 2 > 160 airTs 5 . r. ad ’ . © ing 200 eG Increasing the attack time too much will allow some of each drum transient to sneak past the compressor before its gain reduction clamps down properly. This will effectively increase the level difference between the transient and ite rest of the snare sound. You could apply a transient designer to achieve ciara For example, if you're working with percussion sounds, kick drum, snare, hi- hat or any instrument with a percussive nature, you could reduce/boost the transient portion of the sound to make it stand out more in the mix (Or reduce it to achieve the opposite result) RESULT: Less Drum Sustain a IMPORTANT ana oli Me Coe the specific timing (whether Bee) POUR 200ms, you're the one who Cece reunig rete Works best with complex sounds that need a transparent gain reduction (lead vocals). Pa RCM eer ee Recut nae eee nce ET ue MSU

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