LOL - I did computer networking for years, and learned early on luckily...always check your cables first! I won't bore the details, but spent an hour troubleshooting the PC and a custodian had crimped the network cable with a file cabinet! Always reminded of that day! (and yes, I too slip on that once in a while!)
Thanks, Joe. You are a superstar. I do corporate training and I know NOTHING about mixing or sound. I use a DBX 286s, which has "Drive" and "Density" and, so, I found it hard to find a video that explains this type of compression. By watching how you explained compression in this video has helped me understand the DBX a little better. Thank you.
I already had a base understanding of how compression worked but this vid just extremely helped my mixing and controlling my input gain providing clarity while recording at a decent level. Thank God for you👏🏾🙌🏾
Threshold = How loud a signal has to be in order for the compressor to react. Ratio = the amount of compression is applied for every db the signal exceeds the threshold. So a 1:1 ratio really becomes a wash and will be extremely transparent. You won't notice it so much until you get to 2:1, 4:1, and beyond. Attack = how quickly the compressor acts against the signal that has crossed the threshold. Release = how quickly the compressor stops compressing the signal.
I would like someone to explain why a release time of 3 secs or more are needed to reduce the imposed crescendo of a cymbal crash. A release time of 1 sec causes a cym crash to horribly swell. But even set to 3 secs, a compressor with change a fading cymbal crash into a crescendo that needs editing.
I’ve been through many videos on RUclips trying to get a handle on compression. This has to be the best one I’ve come across. Hands down. Thank you Joe
I can relate to Joe's story at the beginning of this video. I have spent many a time adjusting eq and compression, thinking it is making a difference only to find I was adjusting settings on the wrong track. It's amazing how your ears and eyes can deceive you. Another way of increasing compression is to increase the input gain. This will push more signal into the compressor.
Oh man. That was so simple to understand. Thank you for breaking it down for me! I've been blindly trying to figure out what all the plugins do while learning how to mix vocals and this is going to be incredibly helpful. Thank you so much!
There is 1 to 1 ratio on compressors because sometimes you might just want to get the character of the compression without a decrease in volume, so to speak, some compressors are based on the 1176s of long ago. Some are based on LA-2a, etc. Basically, compressors don't necessarily sound the same, even if the settings are the same
It's actually one of the difficult effects to learn to master, especially if your completely new to it. Would very much like to see some more in depth video's on the matter, like with the plugin you have here, what is the "knee" doing, and when/how to use the auto atk. I'm also very much in doubt which of the effects you use in a home studio is worth the extra money for a hardware effect like eg one of the 1176 inspired hardware compressors vs a vst plugin. Is it worth plunging out maybe $1000 and much higher prices for outboard compressors or some of the SSL hardware mixer/ channel strips available.
I haven't run this test myself but if you're aiming for a specific gain reduction target, would the results be the same if you achieved it using a lower threshold vs higher ratio (keeping attack the same)? I would think no because the threshold determines what part of the signal is getting compressed right? Would it be appropriate to determine at the start what the objective of the compressing is and that would decide on either lowering the threshold with a low ratio vs increasing the ratio but raising the threshold?? Eg, taming peaks, leveling a performance, gluing, etc?.
Being a newbie at this, as i understand it the lower the threshold the more of of the signal is being processed. You can set a lower ratio to keep the overall gain reduction at around the same level, but the result will be different. It’s my guess that this is the part where your ears is what determines what is best
One thing that I think this video misses is the use of the MIX knob. Not only can you maintain more of the punch in the signal without crushing the volume, you can use this also to fine tune the amount of overall compression.
Joe did not seem to answer the question of how to set the threshold on a compressor. I am sure many people are left wondering what that answer is. I will take some time to answer that question for everyone here. Setting a compressor threshold is dependent on what portion of the signal you want to compress. For example, setting the threshold just beneath the signal’s peaks will compress only the loudest parts of the signal. You could also set the threshold to a lower level to apply compression to more of the signal. The lower you set the threshold, the greater the amount of signal you compress, resulting in greater gain reduction. This will level out a whole performance. However, long before you answer the question of setting threshold on a compressor, you have to ask yourself what goal or goals are you trying to accomplish with compression. There are 4 main goals of compression which are "to balance" , "to enhance" , "to glue" , and "to fix" audio. When dealing with the goals of "balancing" a track we are dealing with technique styles of consistency , and depth (far and close). This goal and style of compression deals with HIGH THRESHOLD settings and FAST ATTACK settings to achieve that goal. This means you are going to use your ears and eyes to set the threshold. It is not an exact number, but the threshold setting for this goal and style will be on the higher side because you want to compress just the loudest parts, which means you are only effecting the signals peaks. If your GOAL is to "enhance" creating a "punchy" style of compression, than you are going to set your threshold to lower setting to allow more of the signal to be compressed , and you want a slow attack time to allow the initial transients to not be initially compressed at the full ratio until some time happens. So in closing, the threshold number is set to the GOALS and Styles of the goals you want to achieve. Use your ears, and use your eyes. High thresholds are going to be in ranges of -10db to 0, but again, there is not exact number, you have to use EARS as well as EYES to achieve proper settings. I preach using your EYES just as much as EARS because everyone thinks they have great ears, but they don't. Metering on any devise is your friend. It tells you want is going on, use your eyes just as much as ears.
Compression in pop music is relatively easy as the dynamic range is small, with little variation in track volume. I struggle obtain balance when mixing down an orchestral work, where the range is often pppp to ffff. Compression is an enemy of dynamic range. I would love to know how to apply it to classical music without sacrificing too much of the range.
Quick question. Is it better to compress using a gain plugin before the compressor (like an 1176) and another gain plugin after the compressor in order to gain match (only changing from the compressor its attack and release times?
You probably talked of this, but I'd like to hear your take on compressors vs limiters. it seems that a lot of people are using compressors to increase volume with using make up gain. Could they get 'that sound' there looking for with a limitor instead? However, a compressor's attack and release controls allows for shaping the transient and sustain of the sound.
You say increasing the ratio and threshold lowers gain? Not on any compressor I have used: doing so increases gain. Maybe I have misunderstood. And isn't the main purpose of increasing the threshold to make audible soft notes that are buried?
Yeah, but a key point that a lot of people forget, is to set the makeup gain after setting their compressor up, not only that, but they do not AB in context to actually hear what the difference is in the actual mix. If you do not apply makeup gain after the fact, you've essentially just set up an automated volume control..... It's just going to "regulate" the volume.... And although this is by nature it's job..... The tone gets lost in translation without the makeup gain... At least it sounds that way to me... Again, great advice, thanks Joe.
Joe could you please tell me how I can turn all my tape machine plugins off and on across all my tracks with one click in studio one but leave the other eq/comp plugins alone? Thanks
hey joe what if you do vocal compression ? i know the general rules that you spoke of is the same, but how would you put the attack and release on that ? and of course the ratio should be on 4 to 1 right ?
He already has a video on setting the attack and release on vocals. Just look for his name and vocal compression or something and you should find multiple videos. Just watch them all I guess, they're pretty short
I love your videos and have watched several however when I went to 5stepmix all I got was a video trying to sell me a course for guitar and vocal, pretty disappointing
@@HomeStudioCorner yes I did and I sent you an email back thanking you, really appreciate you jumping on this, with all you have going on I didn't expect that
When you compress signal, you also diminish its gain. The makeup knob allows you to restore some of that lost gain. You would typically turn the makeup so that your meter reads right around where it was before you added the compressor. In short it makes the quieter parts louder, which is one of the key purposes of compression. It brings out those nuanced details in the recording while also taming the peaks. The key point of compression is too narrow the signal's dynamic range while keeping (and even enhancing) its overall character.
after browsing through so many channels. Yours is by far the best. The explaining thod is so great and detailed even complex stuff is
LOL - I did computer networking for years, and learned early on luckily...always check your cables first! I won't bore the details, but spent an hour troubleshooting the PC and a custodian had crimped the network cable with a file cabinet! Always reminded of that day! (and yes, I too slip on that once in a while!)
Thanks, Joe. You are a superstar. I do corporate training and I know NOTHING about mixing or sound. I use a DBX 286s, which has "Drive" and "Density" and, so, I found it hard to find a video that explains this type of compression. By watching how you explained compression in this video has helped me understand the DBX a little better. Thank you.
I already had a base understanding of how compression worked but this vid just extremely helped my mixing and controlling my input gain providing clarity while recording at a decent level. Thank God for you👏🏾🙌🏾
But still able to explain each stage in a basic manner. Honestly thanks man!
Threshold = How loud a signal has to be in order for the compressor to react.
Ratio = the amount of compression is applied for every db the signal exceeds the threshold. So a 1:1 ratio really becomes a wash and will be extremely transparent. You won't notice it so much until you get to 2:1, 4:1, and beyond.
Attack = how quickly the compressor acts against the signal that has crossed the threshold.
Release = how quickly the compressor stops compressing the signal.
@Brett Marlar, Thank you!
I would like someone to explain why a release time of 3 secs or more are needed to reduce the imposed crescendo of a cymbal crash. A release time of 1 sec causes a cym crash to horribly swell. But even set to 3 secs, a compressor with change a fading cymbal crash into a crescendo that needs editing.
I’ve been through many videos on RUclips trying to get a handle on compression. This has to be the best one I’ve come across. Hands down. Thank you Joe
Joe es el maestro supremo!
Hi Joe. I just came to wish you a nice day. God bless you.
Very well explained! Thanks for sharing us how to use threshold, more power to your channel.
That's one of the best single stand-alone videos I've ever seen on compressors
Fantastic as always Joe - thanks so much 🙏🏻.
Loved the advert too 😁 - and I highly recommend your "5 Step Mix" 🤟
Excellent tutorial on Compression, Joe. Really appreciated :)
I can relate to Joe's story at the beginning of this video. I have spent many a time adjusting eq and compression, thinking it is making a difference only to find I was adjusting settings on the wrong track. It's amazing how your ears and eyes can deceive you. Another way of increasing compression is to increase the input gain. This will push more signal into the compressor.
"Run away from this person" - love this..
Thanks Joe! You're the best 💯
Oh man. That was so simple to understand. Thank you for breaking it down for me! I've been blindly trying to figure out what all the plugins do while learning how to mix vocals and this is going to be incredibly helpful.
Thank you so much!
This came just about right! 😎 Thank you for your awesome, relaxed but insightful explanations! 🙏🏼
thanks man . you helped me so much thank you again
There is 1 to 1 ratio on compressors because sometimes you might just want to get the character of the compression without a decrease in volume, so to speak, some compressors are based on the 1176s of long ago. Some are based on LA-2a, etc. Basically, compressors don't necessarily sound the same, even if the settings are the same
thats true, but this specifically is a stock clean compressor with no nonlinearities. i kinda agree with him for that reason.
And some compressors have a less than 1 ratio setting for upwards compression.
Damn this content its incredible well explained
Legend
Gut gemacht.
G.O.A.T
Thank you.
finally found thanks to the author
Thnx. Good video!
THANK YOU
It's actually one of the difficult effects to learn to master, especially if your completely new to it. Would very much like to see some more in depth video's on the matter, like with the plugin you have here, what is the "knee" doing, and when/how to use the auto atk. I'm also very much in doubt which of the effects you use in a home studio is worth the extra money for a hardware effect like eg one of the 1176 inspired hardware compressors vs a vst plugin. Is it worth plunging out maybe $1000 and much higher prices for outboard compressors or some of the SSL hardware mixer/ channel strips available.
I've been trying to get hold into it, and it's never easy
I haven't run this test myself but if you're aiming for a specific gain reduction target, would the results be the same if you achieved it using a lower threshold vs higher ratio (keeping attack the same)? I would think no because the threshold determines what part of the signal is getting compressed right? Would it be appropriate to determine at the start what the objective of the compressing is and that would decide on either lowering the threshold with a low ratio vs increasing the ratio but raising the threshold?? Eg, taming peaks, leveling a performance, gluing, etc?.
I would like to know about this too.
Being a newbie at this, as i understand it the lower the threshold the more of of the signal is being processed. You can set a lower ratio to keep the overall gain reduction at around the same level, but the result will be different. It’s my guess that this is the part where your ears is what determines what is best
One thing that I think this video misses is the use of the MIX knob. Not only can you maintain more of the punch in the signal without crushing the volume, you can use this also to fine tune the amount of overall compression.
Joe did not seem to answer the question of how to set the threshold on a compressor. I am sure many people are left wondering what that answer is. I will take some time to answer that question for everyone here. Setting a compressor threshold is dependent on what portion of the signal you want to compress. For example, setting the threshold just beneath the signal’s peaks will compress only the loudest parts of the signal. You could also set the threshold to a lower level to apply compression to more of the signal. The lower you set the threshold, the greater the amount of signal you compress, resulting in greater gain reduction. This will level out a whole performance. However, long before you answer the question of setting threshold on a compressor, you have to ask yourself what goal or goals are you trying to accomplish with compression. There are 4 main goals of compression which are "to balance" , "to enhance" , "to glue" , and "to fix" audio. When dealing with the goals of "balancing" a track we are dealing with technique styles of consistency , and depth (far and close). This goal and style of compression deals with HIGH THRESHOLD settings and FAST ATTACK settings to achieve that goal. This means you are going to use your ears and eyes to set the threshold. It is not an exact number, but the threshold setting for this goal and style will be on the higher side because you want to compress just the loudest parts, which means you are only effecting the signals peaks. If your GOAL is to "enhance" creating a "punchy" style of compression, than you are going to set your threshold to lower setting to allow more of the signal to be compressed , and you want a slow attack time to allow the initial transients to not be initially compressed at the full ratio until some time happens. So in closing, the threshold number is set to the GOALS and Styles of the goals you want to achieve. Use your ears, and use your eyes. High thresholds are going to be in ranges of -10db to 0, but again, there is not exact number, you have to use EARS as well as EYES to achieve proper settings. I preach using your EYES just as much as EARS because everyone thinks they have great ears, but they don't. Metering on any devise is your friend. It tells you want is going on, use your eyes just as much as ears.
Compression in pop music is relatively easy as the dynamic range is small, with little variation in track volume. I struggle obtain balance when mixing down an orchestral work, where the range is often pppp to ffff. Compression is an enemy of dynamic range. I would love to know how to apply it to classical music without sacrificing too much of the range.
How did I miss this one?
Completed ur 500 likes mate
Quick question. Is it better to compress using a gain plugin before the compressor (like an 1176) and another gain plugin after the compressor in order to gain match (only changing from the compressor its attack and release times?
You probably talked of this, but I'd like to hear your take on compressors vs limiters. it seems that a lot of people are using compressors to increase volume with using make up gain. Could they get 'that sound' there looking for with a limitor instead? However, a compressor's attack and release controls allows for shaping the transient and sustain of the sound.
Could they? Who are you talking for and next time be respectful in asking. Joe doesn't owe you anything.
@@soundsofveer1050 'they' meaning beginners.
You say increasing the ratio and threshold lowers gain? Not on any compressor I have used: doing so increases gain. Maybe I have misunderstood.
And isn't the main purpose of increasing the threshold to make audible soft notes that are buried?
Yeah, but a key point that a lot of people forget, is to set the makeup gain after setting their compressor up, not only that, but they do not AB in context to actually hear what the difference is in the actual mix. If you do not apply makeup gain after the fact, you've essentially just set up an automated volume control..... It's just going to "regulate" the volume.... And although this is by nature it's job..... The tone gets lost in translation without the makeup gain... At least it sounds that way to me... Again, great advice, thanks Joe.
Joe could you please tell me how I can turn all my tape machine plugins off and on across all my tracks with one click in studio one but leave the other eq/comp plugins alone? Thanks
Hey Joe can you explain how to update studio One version in 2022
agreed
Thanks so much for making tNice tutorials video! You really broke it down well.
sotNice tutorialng either - I assu that works with Edison too) and I never thought about after that. Now, at tNice tutorials mont, I am inspired! I am
I'm learning tNice tutorials, guitar, and 3d animation at the sa ti what am i doing to myself?
Please make a video on using fat channel to record vocals. Background noise.
Please i do good mixes but my mastering has problems with heaviness and loudness
send you the link of it
hey joe what if you do vocal compression ? i know the general rules that you spoke of is the same, but how would you put the attack and release on that ? and of course the ratio should be on 4 to 1 right ?
He already has a video on setting the attack and release on vocals. Just look for his name and vocal compression or something and you should find multiple videos. Just watch them all I guess, they're pretty short
@@LixienXIII gotcha, will do and thanks
I love your videos and have watched several however when I went to 5stepmix all I got was a video trying to sell me a course for guitar and vocal, pretty disappointing
You also got the 5 step mix guide right?
@@HomeStudioCorner no it just kept taking me to the screen to buy the video
so you didn't get an email from me with the guide?
@@HomeStudioCorner yes I did and I sent you an email back thanking you, really appreciate you jumping on this, with all you have going on I didn't expect that
Lmao “the cable was just layin on the floor” that definitely be happening. Check the simple stuff first,
I literally google it and use with google recommended
And what does the Make Up knob do?
When you compress signal, you also diminish its gain. The makeup knob allows you to restore some of that lost gain. You would typically turn the makeup so that your meter reads right around where it was before you added the compressor. In short it makes the quieter parts louder, which is one of the key purposes of compression. It brings out those nuanced details in the recording while also taming the peaks. The key point of compression is too narrow the signal's dynamic range while keeping (and even enhancing) its overall character.
sa
Sa.
guilty, I feel like being honest here is going to be the most aningful.
^^
Don't invest in anytNice tutorialng until you know what you're doing. Just your PC is fine for now.
Love 💕 Ep Ni 💥🔥
ruclips.net/p/PLbFrAz29154WDEtvrThiA_fqUz0jUtKVd