Very cool! Similar to the first compressor setting I use in a series of three for spoken word mixing, where I do the same thing but attack is nil and release is very high. I’ll try this with the attack and release settings as you suggest. I imagine that with compressors that add a lot of harmonics, this could also be a very bold way to color the sustain of notes without drastically reshaping the transient attack-also a useful thing. Thanks for the great video!
Gonna try using this live this afternoon. I’m a solo act with recorded tracks. I like what it does to the sound on headphones., we will see if it works live. Thanks for what you do.
I appreciate the in depth conversation. When it comes to compressing or any other effects, I find I rely more on my ear than on anything else. I have been watching these types of videos because I want to understand and know the actual process in a more intellectual way. Relying on one's ears however, makes learning this new way to do things, difficult (especially after learning by just doing). In spite of knowing the names of the dials, the meanings of all the dial's numbers, and all the movements of the dials effect, the instruction is ironic, because in the end, Joe is relying on his ears to know if his adjustments are correct. I will keep watching these types of videos in an attempt to understand what I am doing intellectually, and at some point I suppose it will all make sense.
One of the best ways to learn what the settings do is to play a drum machine or drum loop through the compressor. Here is what I always recommend. You probably already know this but I'll post this anyway as it might help someone. Start with a high ratio (at least 8:1), set attack and release to the fastest settings and make-up gain to 0. Threshold way high. If there's a knee setting go for hard knee and if there's peak vs RMS (averaged), choose peak. Then slowly bring down the threshold and listen for what it's doing to the sound until the sound is totally squashed. Then back off to the point where it's still heavily compressed. As you go, experiment with the make-up gain. Now increase the attack and listen to the way the transients start to come through. And then it starts delaying the compression. Next slowly increase the release. The idea is to get to the point where the compressor lets go every beat and then every other beat and so-on until it just doesn't properly let go.
Thanks @@unclemick-synths I appreciate it and since you wrote it out, I can refer back to it when necessary. I copied your comment and I will archive it to read the next time I decide to compress a vocal.
Look out for the dbx 160A compression style... attack between 10-20 ms, release varies from 8 to 80, these up to 20 dB of compression IIRC. The 160, 163 etc have been used by many rap artists. What I tend to do (though not really for rap) is compress like that, run the vocals through a mild downward expander then compress again. Sounds very upfront. You might wanna check out Sage Audio as well. Good stuff on their channel.
Видеоклипы
I'm so glad you took over this channel dude!
the SSL compressor trick , i use this all the time ,every mix
I think this is why I like compressors with a really soft knee for things like acoustic instruments and vocals.
Amazing.. U know, I discovered this couple months back. This vid proves to me that I was on to something. Great video! ❤
Thank you! That was really a great tip. It saved the vocals on one my mixes. I love butter!
Great advice, thanks Joe!
Nice one! I wouldn't have even thought to approach it that way, but I think at the end of the vocal chain on my current song, it might work wonders.
It definitely brought the vocals forward.
Nice, never seen this before. Great as a secondary, like you said. ❤
Very cool! Similar to the first compressor setting I use in a series of three for spoken word mixing, where I do the same thing but attack is nil and release is very high. I’ll try this with the attack and release settings as you suggest. I imagine that with compressors that add a lot of harmonics, this could also be a very bold way to color the sustain of notes without drastically reshaping the transient attack-also a useful thing. Thanks for the great video!
Gonna try using this live this afternoon. I’m a solo act with recorded tracks. I like what it does to the sound on headphones., we will see if it works live. Thanks for what you do.
I always do this with my BX SSL console emulation, it works perfectly with this!
I have Bx Ssl E from Brainworx. I will try It.
I appreciate the in depth conversation. When it comes to compressing or any other effects, I find I rely more on my ear than on anything else. I have been watching these types of videos because I want to understand and know the actual process in a more intellectual way. Relying on one's ears however, makes learning this new way to do things, difficult (especially after learning by just doing). In spite of knowing the names of the dials, the meanings of all the dial's numbers, and all the movements of the dials effect, the instruction is ironic, because in the end, Joe is relying on his ears to know if his adjustments are correct. I will keep watching these types of videos in an attempt to understand what I am doing intellectually, and at some point I suppose it will all make sense.
One of the best ways to learn what the settings do is to play a drum machine or drum loop through the compressor. Here is what I always recommend. You probably already know this but I'll post this anyway as it might help someone.
Start with a high ratio (at least 8:1), set attack and release to the fastest settings and make-up gain to 0. Threshold way high. If there's a knee setting go for hard knee and if there's peak vs RMS (averaged), choose peak.
Then slowly bring down the threshold and listen for what it's doing to the sound until the sound is totally squashed. Then back off to the point where it's still heavily compressed. As you go, experiment with the make-up gain.
Now increase the attack and listen to the way the transients start to come through. And then it starts delaying the compression.
Next slowly increase the release. The idea is to get to the point where the compressor lets go every beat and then every other beat and so-on until it just doesn't properly let go.
Thanks @@unclemick-synths I appreciate it and since you wrote it out, I can refer back to it when necessary. I copied your comment and I will archive it to read the next time I decide to compress a vocal.
@@kernjames you're welcome
Great demo about butter compression. Yes I'm serious.
I've got bacon distortion.
🧈🥓 We're cooking up some great mixes. Great weekend y'all.
Awesome tip
Thanx, bro!! 🙏
ha I just learned this from Streaky. didn't know what it was. quality info right here!
Awesome 😉
I can't believe you called this butter compression! 😂
I can't believe I'm referencing an old commercial about butter!😂😂 😂😂😂
the commercial was about it NOT being about butter...
Mmmmm...butter 😋🧈
Hello RUclipsz
Hey I want to find out how to compress vocals with a BandLab compressor?? Can you make a video about it
What are the settings for a rap vocal?,??? I NEED HELP 😂😊😮😮😮😮
Start at fast Atk slow release at 4:1 it’s just a starting point then move from there
@@Iamjayrussell ok. Then back it off right?
Look out for the dbx 160A compression style... attack between 10-20 ms, release varies from 8 to 80, these up to 20 dB of compression IIRC. The 160, 163 etc have been used by many rap artists.
What I tend to do (though not really for rap) is compress like that, run the vocals through a mild downward expander then compress again. Sounds very upfront.
You might wanna check out Sage Audio as well. Good stuff on their channel.
@@joaoantoniovione484 thanks 👍🏾