I've noticed that commercial productions have a much more squashed low-end dynamic range than my own recordings.
I'm assuming some side-chain bass compression on the master fader is a possible solution. The Digi Design Compressor/Limiter Dyn 3 will allow me side-chain processing...
Hello, I'm pretty amateur at this whole recording business and it shows with my limited equipment I'm mostly interested in what people think is the order of importance of drum compression on 'rock' drums (not really for normal rock music, the musical style is in the vein of Fugazi, Cap'n Jazz...
Anyone familiar with the technique Parallel Compression and have any ideas they would like to share on this technique. A friend of mine who has a fairly established studio was telling me about this technique.
i have produced some techno tracks that i am now trying to
master by myself for demo purposes and to test them on bigger club pas
i am doing this as the final process all inside my production session
recording the final stereo file to 16bit
after trying to gather some knowledge...
I've been reading a lot of litterature about compression in mastering and mixing lately. And i do mean, A LOT.
I knew, i know, and i understand, and more than anything else i agree on the fact that compression is just too much used nowadays... And that it does no good to music...
just wondering what the general view is on compressing the overhead drum mics during tracking. Necessary?,Stupid?,Imperative?
I realize that its mostly a matter of opinion and taste,but if anybody has any input or suggested threshold/ratio-attack/release settings theyd like to share id dig it...
So if a vocalist has good control over his or her dynamics is compression necessary?
If you increase the gain slightly and pull the vocalist a little bit back from the mic can you dispose of the pop filter?
If a tree falls in the woods... nevermind.
After using countless plugings like waves, tc etc..
I decided to spring for the waves ssl plugins
I'm not very familiar with "real" higher end hardware, so maybe this is to be expected, but why when is it when apply a good amount of squeeze does the stereo panning change?
I am guessing that hardware compression, limiting and EQing at the mastering level will yield much better results than software, especially garageband. Are there any good hardware compressors, limiters and EQs that wont break my wallet?
Is it safe to say for ballads slow songs the compression should be on vocals slow attack and slow release? and for more syncop[ated rock songs med attack and med release?
Also I usually use slight compression going in 4:1 ratio with threshold at -6 is this gentle enough to manage peaks...
What are your favorite of each, for maybe around $100 each? I don't have a problem with Behringer and I don't want to go too crazy especially because I'll be having this in my dorm room.
I already have -> Firepod, SM57, and AT2020 for microphones. I want just one more mic and a vocal...
Hi. I have been salivating over the new compressor that you guys make called Nitrous. Am I to understand that two Nitrous can be connected togethr to make a stereo Nitrous for two channel linking compression?
If so , could you please explain in lay terms how this is done?
What I want to know...
was just wondering what is common practice, if you are sending your already recorded "off the mic" kick channel out of your DAW to an external comp, do most guys eq the kick pre or post comp, or both?
Or for example, is it better to do the "cutting" pre and "boosting" post comp?
I am sure that compression should be applied before EQ but I am not completely positive about it. This is my set up:
Microphone to MH3 chanel, ACP-88 to insert and then series to an EQ station, the EQ staion is after the compressor.
Can anyone help please?
Can anyone provide their general step by step for recording, mixing, and mastering Bass?
I know its generally a good idea to compress in stages - during tracking, during mixing, and at the mastering stage. Which ratio and threshold settings do you use at each stage? attack / release...
Is there a rackmount multiband compressor that one could possibly afford? Or can you only find this effect in plug-in format? Is there a way to group some basic plugins together to create multi-band compression? I somehow think this question belongs on a different forum.
Could someone correct any of my thinking here, and answer my questions also? Please read carefully and make sure you
understand the question before responding. If I am not making myself clear, I can make a 5 minute video and post it on YouTube and post a link to the video with me demonstrating...
I am considering getting the Neve Portico Compressor. It is the only high-end compressor I'll have in my home studio. I was originally considering getting a compressor with a High-Pass filter option or Side-Chain so that I can use the compressor to only compress transients and let the low end...