The non-compressed signal to the singers monitors. AND I do have musical tourettes. I am constantly humming violin to worship songs, syncopation, double stop harmonies. I've got the headphones on and my family starts looking weird at me (again)
Thank you for sharing your knowledge James. Very professionally presented. I’m new to digital mixing world and you have made the transition from analog friendly. I was scared. You are a legend. Keep them tutorials coming. 👏👏👏
Very useful tips and coaching on compression! Love it! Thanks! As someone with experience of 30 years, but with no formal training, this filled in a gap.
With so much bad advice and lack of knowledge in youtube videos, THANKYOU for producing a video with good advice, deep understanding and clear delivery. As a profession engineer i thank you for putting youtube right. 👍
attack times release time and tonal relationships, I"m learning a lot watching your videos....I've been "pushing faders" for a few years now and your videos are teaching me How to approach so many of the features on my X32 that I've not been able to use. thank you
I've been doing sound for a long time... I did my first tour in 1989. Obviously that was the days of analog. It was around 2007/2008 when I began seeing digital consoles on a pretty consistent basis. It was around this tim that I accidentally discovered a compression technique I use all the time now.... While still acclimating to the digital world, I would often start adjusting things, without remembering to select the proper channel. One day, thinking I was adding compression on something else, I was actually adding it to an overhead channel. I soon realized my mistake, but also realized it was doing something cool. I then applied compression to both overheads. The band I was mixing was a very dynamic rock band. The overhead compression kept the really intense peaks under control, and would bring them forward as the band settled into quiter sections of songs. I see a lot of guys use it now, but back in the analog days you typically didn't have enough compressors in your rack, to spare, for such things. Something that used to be very popular, back in analog days, was sidechaining. I don't see too many engineers using it these days. I do things like sidechain a bass DI to the kick compressor...to bring out bass runs during busy bass and drum segments of songs. I'm surprised more guys don't use tricks like that, since its so easy to do on digital consoles. Sidechaining is cool because it assists in moving shared tonal things out of the way of each other...making room for more musical information to be heard.
Very good instruction. Got straight to the point on the settings, then went into the description of each setting. Thank you! I bought a BBE MaxCom dual compressor and will follow your advice when it arrives.
I found that sending compression to our wedge monitors works the best. Vocalist prefer to sing their hart out and have confidence that they won't over power the sound on stage.
Nice tutorials...been hoodwinked into running board on a friend's band and this will help out tremendously. As one sound engineer told me if ya get the vocals down correctly 85% of the job is done, the rest is pretty easy as the instruments are gonna just do their thing without much noodling.
Just found your channel and i definitely need to go on a binge watch.. My church will be finally switching from an analog to a digital board very soon and after having convinced them to buy it i definitely wanna show them its worth.. Thanks for making these professional videos.
Hey thanks for serving your church by running sound! After getting things dialed in, show them how easy it is to save a “base” scene and have a kid hit “recall” to get things working. That’s when they’ll know it’s worth it 😁
Nice summary. I suspect your choices are good for your context as many people listen to small speakers without much fidelity. In this environment, clarity is king. I listen to a lot of classical where the dynamic range can be much higher and the equipment is often higher end and can more properly produce a complex mix. Knowing your audience is important as it can result in better overall outcomes.
Good channel - I'm learning things. I'm a semi-retired rock band engineer. I've used compression selectively to highlight the "star" of the event, usually the person whose name is on the marquee, that the audience paid to see. I've used it to keep overly dynamic sidemen and backup singers in their lane, allowing the star more of the available dynamic range of the rig. The supporting musicians can still sound great without getting in the way of the star's sound. Although, when I mixed a show that featured a legendary guitar hero and singer, the bass player criticized me afterward that I had squashed his dynamics. Although I made nice with him, he wasn't ready to be told he wasn't the hero that the people paid to see. So, I sometimes messed with the artistic composition. Some would say that's bad. If there's a music director who seems to have his/her act together, I wouldn't do that. What do you think?
Your videos are beyond informative and excellent. (Still uneasy with the amount of money floating around American Churches tax free.) Thank you for sharing your knowledge.
Thanks Tone Ranger! You’d rather tax everyone on sales? I actually prefer that to having an income tax... encourages saving and starting your own business. But tax policy not what this channel is focused on 😂
@@AttawayAudio indeed, lets just say, your church has better gear than any of the actual music venues I have worked in, light years ahead in fact 😁 your videos are great keep it up, some of the most informative out there for live sound in general, church or no church, and nicely edited, thank you. Liked and Subbed 👍👍 beyond the technical side you seem to be very skilled at interacting with people which must come in handy when working with Preachers and Pastors who I'm sure may be demanding at times.
Yeah the people side is a skill that will make up for lots of mistakes technically 😂 to put the gear in context, our ministry does 168 hours a week of worship at one facility, and more services at another facility on the weekends (where I film). So it’s like having expensive shoes as a marathon runner. There are 14+ full time worship teams. So we get our moneys worth out of it. Glad you’re enjoying the videos!!! More stuff coming soon
Hello all pro mixers. Respect when you can hear a different between that different settings - special the fast and slow attach. But thanks for the video!
You are a bad man. I have learn a lot in a very short time listing to you. You make it plan and simple. I run the soundboard at my church. Allen and Heath GLD 112. I have not mastered it yet, but with lessons like yours, I'll soon get there. I love how you give us a starting point and then we adjust from that point. Thanks a million my brother in Christ.
Like all your videos. I’d like to see a FOH EQ video - by ear or by device; common room beginning points and how that affects individual instrument channel settings. For example, the channel settings you used here would change if FOH changed from room to room. So you may have to cut 5k or 2k or whatever in main EQ and then have to add that back in on a channel EQ to compensate. It would just be interesting to know how you set room EQ
Thank you for this tutorial i have learned so much from your videos. my question is. what is good compression level and makeup gain for lead vocal and backup vocal
Hey Daniel! I aim for an average of about 5dB of gain reduction, and the makeup gain depends on how much I need to push my fader up to keep it on top of the mix.
Compression sounds professional. Thanks for the tips....BUT.....I really dig those uncompressed passes as well. LOL Makes me listen harder and sounds natural.
Love this video and the whole series.I have learned more from you thank anyone on live mixing. What do you like more RMS or peak mode for smooth vocals?
A good start is a good sounding kit tuned properly and a good player (too may drummer who havnt figured out that people generally dont dance to hi hats and cymbals)
I'm not sure if I miss this any part of the video, but like eq you advised us to only cut and not boost to avoid feedback. Does changing compression during live causes feedback? Also, another question, I have yamaha tf3, I notice everyone running reverb and delay fxs. What other fx is good and make vocals or anything in general better? Is there any tutorial about all different fx? Thanks
compressing CAN cause feedback if you end up compressing too much add too much makeup gain, which raises the noise floor. But you can adjust it during the performance - I do all the time to get things dialed in. There's another video on Vocal FX here: ruclips.net/video/ZSGl8tGbC1k/видео.html
Great video but "when our voice gets harsher, when they are singing louder" .. "counteract with slower attack time" this seems to contradict when you say slow attack makes it thicker? I dont follow that part.
If their voice is getting harsher, you want to counteract that by having your gear make it thicker. It's like you put jelly on your peanut butter sandwich, not potato chips. Though that might not be bad.
Hi James, Still a very helpfull tutorial and the singer is so good. A blessing to hear. Do you have a starting place for the compression on the vocal bus ? Sometime you mention using submix but I'm not shure how to properly set the compressor on a submix.
Subgroup compression is all about gentle moves, since you're changing an entire group instead of an individual input. Or there are ways to compress in parallel but that's more than I can go into in a comment 😀😀
great tutorial, really got a lot. I was wondering if its a good idea to send in a compressed vocal signal into an effect bus (say reverb or delay) or rather send it as post eq. looking forward to your response. Thank you.
around the 5:15 or so mark when talking about RMS vs Peak you say RMS is faster and peak is slower, and after your example you switch it to RMS is slower and Peak is faster? i know which is which but i just noticed it and didn't know if you wanted to fix it so as not to confuse someone lol. Your videos are great BTW, i link them to people all the time if they need help and i cant talk them through something. keep it up!
I think what I meant is you can move the attack time faster with RMS with fewer artifacts compared to a similar attack time in peak mode. But thanks for catching that!
Awesome video as always. How do you get a vocalist voice louder when they are softer speaking or a softer singer ? Not a proximity issue. Just songs lower.
After playing around with this a few times, I'm starting to wonder where to put the threshold. When I set it too low the compressor never releases the signal between syllables/words, am I correct? The release time also is not doing much then?
Excellent videos!! Those details about the compressor really are helping me to understand the real use of this sound tool in a very different way! Thank you! That song you’re using for this video, it sounds really good! I’m not very familiar with the style, Is there a way to listen to the complete song? Is it a cover? What’s the name of the song or the band? Thank you again for all your help!
So glad it's helpful for you! The song is "Shout Your Name" by Jon Thurlow. There's a live version of it on an album compilation of the same name, and he's got a studio version on his album "Different Story."
Hey, Thanks for the tips! Can you speak on the “Hold” function on compressors? I see in your tutorial and others the Hold is set to zero and not mentioned. Do you use ‘Hold’ for anything?
Excellent video as always! Do you often compress the BGVs separately from the lead vocalist, or just compress the vocals all in one stereo bus? Thanks!
Hi so I’m a singer on stage for church and out of necessity I’m running the mixing board on stage while performing. I heard compression helps with bringing up gain before feedback? Since my set up is to hear run sound from mixer to stage monitors then to foh speakers, how do i do this without making our voices sound dul squashed, or should i just stay away from compression lol?? Thank you!!
I compress individual channels. Sometimes I group them, but that's rare, especially since it's common for different singers to lead different songs, and I don't want to have to re-assign vocals to groups mid-set
You explained attack time very well, but never talked about what to do with release time after the initial setting. What do you listen for when adjusting release time? Is there any rule you have for where to set that?
Thank you for this. I've been watching a lot of your videos lately - they're fantastic! I'm afraid I can't tell the difference at all regarding the more subtle compression settings (attack speed). Actually even compression on and off I have to concentrate to hear the difference! I am new to mixing (I've only mixed, with help, a couple of performances so far so lots more experience yet to get). Would you say it's common for those beginning to really struggle picking this stuff out? I'm a bit worried I might have a tin ear..
What part of this tutorial gave you an "AHA!" moment? Comment below to let me know!
The non-compressed signal to the singers monitors. AND I do have musical tourettes. I am constantly humming violin to worship songs, syncopation, double stop harmonies. I've got the headphones on and my family starts looking weird at me (again)
The reasoning behind peak/rms 👍
@@danielfmyers Nice!
biggest aha...definately on the slower attack to thicken up. Thanks a lot :)
My pleasure! Oh man... now I’m craving Chick-fil-A
hey!been a sound tech for over 30 years, this was most accurate and concise explanation of compression i have ever heard.
hey thanks!
Thank you for sharing your knowledge James. Very professionally presented. I’m new to digital mixing world and you have made the transition from analog friendly. I was scared. You are a legend. Keep them tutorials coming. 👏👏👏
So glad I could help you make the jump! Thanks for being your church's sound ninja
Very useful tips and coaching on compression! Love it! Thanks! As someone with experience of 30 years, but with no formal training, this filled in a gap.
So glad it's helpful! I love learning more all the time.
This channel saves my life when it comes to sound engineering. Thank you so much!!!
Woohoo! Glad I keep you from going over the edge and quitting 😃
With so much bad advice and lack of knowledge in youtube videos, THANKYOU for producing a video with good advice, deep understanding and clear delivery. As a profession engineer i thank you for putting youtube right. 👍
Wow thank you Brendon! 🙌
I took lots of notes. Seems like some very useful, practical advice. Gonna try it out at rehearsal this week.
Have fun!
Your tutorials always nail it. Really among the very few channels on RUclips which teach stuff that actually is applicable
What an incredible teacher you are...not to mention sound engineer. I am learning a great deal from you. Thanks!
You're a really great teacher. Appreciate these videos!
Thanks Michael! 🙌🏼
attack times release time and tonal relationships, I"m learning a lot watching your videos....I've been "pushing faders" for a few years now and your videos are teaching me How to approach so many of the features on my X32 that I've not been able to use. thank you
Thanks again, everytime i watch your videos, I learn a lot to go~
So glad it's helpful for you Simon! Keep learning and growing!
I've been doing sound for a long time... I did my first tour in 1989. Obviously that was the days of analog. It was around 2007/2008 when I began seeing digital consoles on a pretty consistent basis. It was around this tim that I accidentally discovered a compression technique I use all the time now.... While still acclimating to the digital world, I would often start adjusting things, without remembering to select the proper channel. One day, thinking I was adding compression on something else, I was actually adding it to an overhead channel. I soon realized my mistake, but also
realized it was doing something cool. I then applied compression to both overheads. The band I was mixing was a very dynamic rock band. The overhead compression kept the really intense peaks under control, and would bring them forward as the band settled into quiter sections of songs. I see a lot of guys use it now, but back in the analog days you typically didn't have enough compressors in your rack, to spare, for such things.
Something that used to be very popular, back in analog days, was sidechaining. I don't see too many engineers using it these days. I do things like sidechain a bass DI to the kick compressor...to bring out bass runs during busy bass and drum segments of songs. I'm surprised more guys don't use tricks like that, since its so easy to do on digital consoles. Sidechaining is cool because it assists in moving shared tonal things out of the way of each other...making room for more musical information to be heard.
Very good instruction. Got straight to the point on the settings, then went into the description of each setting. Thank you! I bought a BBE MaxCom dual compressor and will follow your advice when it arrives.
Attack and Release easily explained here. Plus I really enjoyed the song that was sung in this video.
Thanks Victor! It really is a great song
I found that sending compression to our wedge monitors works the best. Vocalist prefer to sing their hart out and have confidence that they won't over power the sound on stage.
If it's set right, it can be awesome! Just have to be careful about raising the noise floor and feedback.
Waste of time use inears
Nice tutorials...been hoodwinked into running board on a friend's band and this will help out tremendously. As one sound engineer told me if ya get the vocals down correctly 85% of the job is done, the rest is pretty easy as the instruments are gonna just do their thing without much noodling.
very true 🙌
Maaan! Thurlow’s voice is butter!!
I know, right? He's awesome to work with
Holy crap... It's almost 3am and I've watched like 20 videos of yours. Thank you for sharing your knowledge, Jon!
I guess there are worse things to stay up late doing 🤣
Very helpful! Thanks for demonstrating tracks with the different variables enabled and disabled it helps solidify the concepts.
I’m glad it was helpful for you! Compression changed my (mixing) life 🤪
Very well explained and many details are very well illustrated.
Can I like this video twice? This was so useful for me! Thank you
Very helpful! 👌God bless you and your family!
Thank you! I'll receive that :)
Just found your channel and i definitely need to go on a binge watch.. My church will be finally switching from an analog to a digital board very soon and after having convinced them to buy it i definitely wanna show them its worth.. Thanks for making these professional videos.
Hey thanks for serving your church by running sound! After getting things dialed in, show them how easy it is to save a “base” scene and have a kid hit “recall” to get things working. That’s when they’ll know it’s worth it 😁
Attaway Audio yasss 🙌🏾🙌🏾🙌🏾.... I can’t wait... Thank you for making out time to educate us freely 😃 ✊🏾
The best tutorial and the first id comment on RUclips. Thank you for making this
thank you for this! I've always been intimidated by compression!
Nice summary. I suspect your choices are good for your context as many people listen to small speakers without much fidelity. In this environment, clarity is king. I listen to a lot of classical where the dynamic range can be much higher and the equipment is often higher end and can more properly produce a complex mix. Knowing your audience is important as it can result in better overall outcomes.
Really solid videos. Really some of the most practical and effective out there.
Very well explained! Looking forward to getting to the board to put it to practice! Thank you.
Awesome tutorials. Thank you! Very helpful.
Thanks Maycee! 🙌🏼🙌🏼🙌🏼
super great tutorial with clear explanation
All of your videos are incredible!
Thanks Chris! Keep making music 🙌🏼
Yes, I have tried some of this previously......... but now these tips go a long way in fine tuning.
nice! always learning, always growing 😃
Great tutorial on Compression. Thank you for taking the time on this :)
As always, GOLD. Thank you.
Genius and very educative as always.. Kudos Sir
Having that console to hands on, it's impossible to ignore your knowledge. Really interesting channel! Thumps up for you. Bless and cheers fron Perú.
Thanks Carlos! Thanks for serving Jesus in Perú!
Very awesome and practically oriented video God bless you paaaaaaa
Thanks Sedem Vincent! God bless you too!
Thanks for that awesome tutorial.. I want to learn more from you, can you please make a tutorial about a proper adjustments of gate.
Sure! It's right here ruclips.net/video/XYKszVPOTB8/видео.html
This is awesome!
Much appreciated. Thank you
Good channel - I'm learning things. I'm a semi-retired rock band engineer. I've used compression selectively to highlight the "star" of the event, usually the person whose name is on the marquee, that the audience paid to see. I've used it to keep overly dynamic sidemen and backup singers in their lane, allowing the star more of the available dynamic range of the rig. The supporting musicians can still sound great without getting in the way of the star's sound. Although, when I mixed a show that featured a legendary guitar hero and singer, the bass player criticized me afterward that I had squashed his dynamics. Although I made nice with him, he wasn't ready to be told he wasn't the hero that the people paid to see. So, I sometimes messed with the artistic composition. Some would say that's bad. If there's a music director who seems to have his/her act together, I wouldn't do that. What do you think?
Your videos are beyond informative and excellent. (Still uneasy with the amount of money floating around American Churches tax free.) Thank you for sharing your knowledge.
Thanks Tone Ranger! You’d rather tax everyone on sales? I actually prefer that to having an income tax... encourages saving and starting your own business. But tax policy not what this channel is focused on 😂
@@AttawayAudio indeed, lets just say, your church has better gear than any of the actual music venues I have worked in, light years ahead in fact 😁
your videos are great keep it up, some of the most informative out there for live sound in general, church or no church, and nicely edited, thank you. Liked and Subbed 👍👍 beyond the technical side you seem to be very skilled at interacting with people which must come in handy when working with Preachers and Pastors who I'm sure may be demanding at times.
Yeah the people side is a skill that will make up for lots of mistakes technically 😂 to put the gear in context, our ministry does 168 hours a week of worship at one facility, and more services at another facility on the weekends (where I film). So it’s like having expensive shoes as a marathon runner. There are 14+ full time worship teams. So we get our moneys worth out of it. Glad you’re enjoying the videos!!! More stuff coming soon
Great stuff, thanks! I have a low voice so set my settings slower to not thin it out.
Hello all pro mixers. Respect when you can hear a different between that different settings - special the fast and slow attach. But thanks for the video!
It takes time to dial your ear into those changes, but it's definitely something that CAN be learned!
Great job sir!
Thanks Tom! Happy mixing 🙌
I’m speechless!
You are a bad man. I have learn a lot in a very short time listing to you. You make it plan and simple. I run the soundboard at my church. Allen and Heath GLD 112. I have not mastered it yet, but with lessons like yours, I'll soon get there. I love how you give us a starting point and then we adjust from that point. Thanks a million my brother in Christ.
Thanks Roger! Thanks for your kind words
i use this guys videos to run sound for black metal shows.
great info!
Glad it was helpful!
Great tutorial love it
You're a legend James!
Thanks Elijah!
Great tips. God bless you Brother.
Thank you! God bless you too!
Great tutorial on vocal and compression, getting to know a lot more from you. Godbless you
Thanks Roderick! Glad I can help. God bless you too!
Best part of vid for me is how compression controls vocals from verse to chorus. My aha.
Really. nice stuff here
Great vid... definitely sounds more professional!!! 🍀🍀🍀
Thanks a Lot ..Could you also touch up on Parallel compression.
Amazing video.
Thanks, Danny!
Like all your videos. I’d like to see a FOH EQ video - by ear or by device; common room beginning points and how that affects individual instrument channel settings.
For example, the channel settings you used here would change if FOH changed from room to room. So you may have to cut 5k or 2k or whatever in main EQ and then have to add that back in on a channel EQ to compensate.
It would just be interesting to know how you set room EQ
transparent, with a slight HF roll-off, and a big bass boost... because we like to party 😃
You’re really awesome 👍🏻🥇
Thank you for this tutorial i have learned so much from your videos. my question is. what is good compression level and makeup gain for lead vocal and backup vocal
Hey Daniel! I aim for an average of about 5dB of gain reduction, and the makeup gain depends on how much I need to push my fader up to keep it on top of the mix.
Thanks God bless
Compression sounds professional. Thanks for the tips....BUT.....I really dig those uncompressed passes as well. LOL Makes me listen harder and sounds natural.
You bet! I love uncompressed, musical signals... but getting it all to fit in a mix........ bring on the compression 🤣
NIce stuff brother!
Love this video and the whole series.I have learned more from you thank anyone on live mixing. What do you like more RMS or peak mode for smooth vocals?
i need the song and the drums please help me so i can do like you what you do it's awesome
Sound NINJA!
You might want to show how you achieve this awesome sounding kickdrum and snare?
ruclips.net/video/hBxvWydRQKY/видео.html and ruclips.net/video/CshdvNnDKr4/видео.html
A good start is a good sounding kit tuned properly and a good player (too may drummer who havnt figured out that people generally dont dance to hi hats and cymbals)
BazSound 😂😂😂
thank you, very useful vedio
Do you find compression to increase the chance of feedback on live settings?
yes, you're raising the noise floor by reducing the dynamic range, which makes it more likely to feed back. So don't go crazy :)
I'm not sure if I miss this any part of the video, but like eq you advised us to only cut and not boost to avoid feedback. Does changing compression during live causes feedback?
Also, another question, I have yamaha tf3, I notice everyone running reverb and delay fxs. What other fx is good and make vocals or anything in general better? Is there any tutorial about all different fx?
Thanks
compressing CAN cause feedback if you end up compressing too much add too much makeup gain, which raises the noise floor. But you can adjust it during the performance - I do all the time to get things dialed in. There's another video on Vocal FX here: ruclips.net/video/ZSGl8tGbC1k/видео.html
Great video but "when our voice gets harsher, when they are singing louder" .. "counteract with slower attack time" this seems to contradict when you say slow attack makes it thicker? I dont follow that part.
If their voice is getting harsher, you want to counteract that by having your gear make it thicker. It's like you put jelly on your peanut butter sandwich, not potato chips. Though that might not be bad.
Would you please tell us, in your opinion, optimal numbers for each setting for spoken voice, talking head work? Thank you
Super cool. Is It possibile to do this with judt a mediocre mixer?! (I Guess not).
Hi James,
Still a very helpfull tutorial and the singer is so good. A blessing to hear.
Do you have a starting place for the compression on the vocal bus ? Sometime you mention using submix but I'm not shure how to properly set the compressor on a submix.
Subgroup compression is all about gentle moves, since you're changing an entire group instead of an individual input. Or there are ways to compress in parallel but that's more than I can go into in a comment 😀😀
great tutorial, really got a lot. I was wondering if its a good idea to send in a compressed vocal signal into an effect bus (say reverb or delay) or rather send it as post eq. looking forward to your response. Thank you.
I send my vocals to effects post-eq and compression. That way the level of the reverb and dry signal stays consistent
Attaway Audio great. Thank you. That makes sense.
hey man i gotta ask what song is this ? Sounds lovely
It's called "Shout Your Name"
How much different db between main vocal and back up vocal? Roughly
Depends how tightly they're singing, but anywhere from 3-10db down
around the 5:15 or so mark when talking about RMS vs Peak you say RMS is faster and peak is slower, and after your example you switch it to RMS is slower and Peak is faster? i know which is which but i just noticed it and didn't know if you wanted to fix it so as not to confuse someone lol. Your videos are great BTW, i link them to people all the time if they need help and i cant talk them through something. keep it up!
I think what I meant is you can move the attack time faster with RMS with fewer artifacts compared to a similar attack time in peak mode. But thanks for catching that!
Awesome video as always.
How do you get a vocalist voice louder when they are softer speaking or a softer singer ? Not a proximity issue. Just songs lower.
Sometimes I get feedback when I start adding compression. How can I avoid that?
use less gain reduction by raising your threshold... compressing it a lot and then turning it up raises the noise floor
when you say in video 4.1 is 4.1:1 or 3.4:1 ??? because you say 4.1 but in the picture shows 3.4:1
I don't worry a ton about the precision of the ratio... so "around 4:1" is what I mean.
This was really good. Thanks for sharing. As a side, was the pitch correction live or did you do that on the playback?
I corrected it in post before creating the tutorial :)
Can you use side chain compression on vocals?
For in ear monitoring, send the vocal with or without compression to the singer? Thank you so much.
usually without, unless they know what they want. but it's usually LESS compression in their ears than I want at FOH
@@AttawayAudio thank you. Have a good day✌
After playing around with this a few times, I'm starting to wonder where to put the threshold. When I set it too low the compressor never releases the signal between syllables/words, am I correct?
The release time also is not doing much then?
What is the song that was in this video? is it published?
Brother, what's the name of the track that's playing at the end?
Excellent videos!! Those details about the compressor really are helping me to understand the real use of this sound tool in a very different way! Thank you! That song you’re using for this video, it sounds really good! I’m not very familiar with the style, Is there a way to listen to the complete song? Is it a cover? What’s the name of the song or the band? Thank you again for all your help!
By the way! My AHA moment was the the fast/slow attack = thinner/thicker tone! 👍
So glad it's helpful for you! The song is "Shout Your Name" by Jon Thurlow. There's a live version of it on an album compilation of the same name, and he's got a studio version on his album "Different Story."
Attaway Audio thank you so much! I appreciate your time to answer!
Hey, Thanks for the tips! Can you speak on the “Hold” function on compressors?
I see in your tutorial and others the Hold is set to zero and not mentioned. Do you use ‘Hold’ for anything?
Excellent video as always! Do you often compress the BGVs separately from the lead vocalist, or just compress the vocals all in one stereo bus? Thanks!
Everybody gets their own
which software plugin do you recommend to do this on the mac (stage live)? does the fabfilter c2-pro do live compression?
Hi so I’m a singer on stage for church and out of necessity I’m running the mixing board on stage while performing. I heard compression helps with bringing up gain before feedback? Since my set up is to hear run sound from mixer to stage monitors then to foh speakers, how do i do this without making our voices sound dul squashed, or should i just stay away from compression lol?? Thank you!!
squashed feeling means it's too much. just turn "up" the threshold so it compresses less if you hear that artifact.
@@AttawayAudio thank you, would you say maybe around -10db threshold is good?
compress bg singers separately or group them and do a group compression...or both?
I compress individual channels. Sometimes I group them, but that's rare, especially since it's common for different singers to lead different songs, and I don't want to have to re-assign vocals to groups mid-set
You explained attack time very well, but never talked about what to do with release time after the initial setting. What do you listen for when adjusting release time? Is there any rule you have for where to set that?
Release time too fast = loud breaths. Release time too slow = missing quieter parts of a phrase after the loud syllables
Amazing Useful techniques.
Sir, please tell me
How to tune foh system in live sound by rational acoustice smaart software.
Thanks DK! I have a system tuning & Smaart video in the works. Thanks for watching!
Thank you for this. I've been watching a lot of your videos lately - they're fantastic!
I'm afraid I can't tell the difference at all regarding the more subtle compression settings (attack speed). Actually even compression on and off I have to concentrate to hear the difference!
I am new to mixing (I've only mixed, with help, a couple of performances so far so lots more experience yet to get). Would you say it's common for those beginning to really struggle picking this stuff out? I'm a bit worried I might have a tin ear..
yes, it can be tricky to identify at first. critical listening is something that can be developed though.
What is the white controller near the top right of the desk??
+Nathan Morse that’s a SPL meter
@@AttawayAudio great cheers
What interface are you using?