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Playlist of How The Pros Use Compression

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  • The Reverb Trick All The Pros Use...UPDATED

    6:52

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  • Mix Buss Compression - RecordingRevolution.com

    11:51

    ►► Snag my 7 step Compression Checklist and learn how to get the most out of your compressors ever time you mix →

    If you've ever heard of engineers using mix buss compression to glue their tracks together but have no idea what that means or how to do it - this video is for you.

    But many people mis-use mix buss compression and it actually makes their mix WORSE with it on, not better.

    Today I'll break down my exact settings for using mix buss compression the right way so you get a punchier, more exciting, but still natural sounding mix!

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  • How To Get KILLER Sounding Mixes!

    55:31

    In this episode we discuss all aspcts of how to make your nixes sound great! Panning, Phase, Low End, Movement from Automation, Sub Woofer, Buss Compression, Ref Mixes, Monitor Speakers and Level and EQ.

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  • How To Compress - Logic Pro X Tutorial

    13:43

    Learn how to use a compressor to make your sounds better, smoother and louder!

    A rough explanation of how compressors work, and how to use them in Logic Pro X.

    Feel free to drop some suggestions for future tutorials in the comments.

    ● Music used
    Casting - Yeasayer


    KSGR x LETS JAKK - Broken Hearted ft. Rachel Jones


    ● Kasger



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  • How To Mix Epic Vocals

    23:09

    How to mix vocals with a dubstep beat for trap nation. Reid Stefan realest puppet in the game demonstrates mixing vocals in pro tools 12 with compression, eq, multiband compression, reverb, and delay. These techniques are applicable for Ableton fl studio 20 and logic users as well!

    Check out my follow-up tutorial about mixing this vocal with the mastered instrumental


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  • The Reverb Trick All The Pros Use...

    5:56

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  • Recording Tricks: What Is Compression and How To Use It on Instruments, Drums, & Mixes

    11:33

    Compression is one of the most common mixing tools around, but if you’re just getting into recording, it can be somewhat mystifying. Maybe you’re turning knobs but not hearing a difference, maybe you can’t quite get the attack right, or maybe you’re not even sure why you need compression! Sean from Reverb tells us why compression is important and walks us through the basics in this installment of Recording Tricks, using a DAW Compressor and an 1176LN PlugIn on a drum mix as well as a Stereo Bus.

    Learn more about compression on Reverb:

  • How to HEAR Compression | Ear Training for Mixing and Mastering

    10:47

    We train how to hear compression as well as explore the impact of different methods of compression, including fast attack/fast release, slow attack/slow release and fast attack/slow release techniques.

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  • How To Use A Compressor

    19:56

    Hey Guys!,
    Today, we start a new series on the channel devoted to mixing and mastering. In this episode, we cover how compressors actually work, and how to balance track levels within your mix. I hope you enjoy this compressor tutorial!
    Make sure to Subscribe for future content, as I release new videos every Wednesday and Friday!
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  • Limiting vs Compression in Mixing Explained

    17:45

    #limiter #compression #compressionexplained
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    In this video David talks about the differences between compression and limiting, when to use a limiter, when to use a compressor in mixing, and goes into details about something that seems to confuse many: fast attack on compressors, how and when to use it. He explains why you shouldn't try to use a compressor in place of a limiter when mixing, and how brick wall, look-ahead limiters are a great tool not only for mastering but in mixing too.
    Enjoy, like and SHARE!

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  • Logic Pro X Compressor and Compression Types Explained

    15:11

    In this video, we'll take an in-depth look at the features of the Logic Pro X compressor. We'll also demo the 7 different compression types on rap vocals.

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  • Audio Basics: How to Use a Compressor | SpectreSoundStudios TUTORIAL

    14:35

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    I'm Glenn Fricker, engineer here at Spectre Sound Studios. I love making records, and after doing it for sixteen years, I want to pass on what I've learned. On my channel you can find tutorials on how to record guitar, bass, real drums and vocals. There's reviews and demos of tube amps, amp sims, drums, mics, preamps, outboard gear, Electric Guitar, Bass Guitar, and plugin effects.
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  • Logic Pro X - Understanding Compression with Logics Compressor Plug-in

    59:19


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  • Compression Ear Training Masterclass in 12 Minutes

    12:13

    In this tutorial, we'll train your ears to HEAR compression and know WHEN and WHY to use it in your mixing sessions.

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    Vocals: Danielle Apicella - “Can’t Save a Soul”


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  • Using Compression: Advanced Techniques - Warren Huart: Produce Like A Pro

    46:47

    Using Compression: How to use compression in your mix.
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    In today's tutorial I'm showing our Recording Connection apprentice Natalie (and you!) some advanced techniques for using compression to increase the impact of your songs and make your instruments work well together in the mix.

    Topics discussed in this tutorial:

    - Using compression to add excitement to acoustic guitars
    - Using multi-stage compression to maintain a natural sound
    - Setting the right attack and release times
    - Compressing overheads to make them sound like room mics (if no rooms were recorded)
    - Remove drum bleed and clean up your drum sound by using sidechain compression
    - Using compression to improve interaction between instruments and make them work well together in the mix.
    - Make your kick and bass sit nicely together for a powerful and punchy low end.

    I hope you enjoy this tutorial. Please leave a bunch of comments and questions below.

    Have a marvellous time recording & mixing,

    Warren

    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Compressors Explained – Sound Basics with Stella Episode 3

    5:54

    Audio level compression is a huge part of any good mix in any musical genre. Find out why in this episode of Sound Basics with audio engineer Stella Gotshtein. Watch all episodes:

    This is the third episode of Sound Basics with Stella, a series of videos about the very basics of sound engineering and music production, hosted by musician, sound engineer and producer Stella Gotshtein. Stay tuned for the next episodes, and if there are any topics you’d like to see covered, let us know in the comments!

  • Vocal Mixing For Pros - Using EQ, Compression and FX | Featuring Michael Johns

    21:08

    This is how I approach how to mix a vocal in a track from top to bottom. I discuss spot EQing, De-essing, Compression, EQ, Dealing with Sibilance, Harshness and using Effects like Reverb, and Delays. I am demonstrating with a demo I did with my dear friend Michael Johns, an Australian singer that performed on American Idol in 2008. He finished in 8th place and died unexpectedly in 2014 at the age of 35 of dilated cardiomyopathy. He was a dear friend and one of the best human beings I have ever had the pleasure of knowing. He is greatly missed by his friends, family and his lovely wife Stacey.

    If you want to hear some of my vocal production work, check out the Needtobreathe album The Reckoning (2011 Atlantic Records) that I Engineered and Produced.

  • Mixing Basics: Vocal Compression - Warren Huart: Produce Like A Pro

    18:15

    ➡️➡️Learn more about Vocal Compression here:

    Today, we will be going over the basics of mixing vocals. Earlier, we balanced the mix using just panning and volume and got the mix to a place where we could start making better decisions. In this video, we are going to look at some really subtle ways you can make your vocals sit better in the mix using just compression and automation. In Pro Tools, this automation could be “clip automation”, but it could also be volume automation in your DAW.

    Most people will use compression to color the sound, and to make sure it is always in the front of the mix. There are three ways you can do this: using compression or serial compression, clip gain/volume automation, or using a limiter, which can help bring out the personality in the track as well. Be careful when you are using clip gain or volume automation, as you want to make sure you are not exaggerating things that you will have to edit out later!

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  • Compression with Fabfilter Prо C2 Masterclass - Learn Pro C2

    1:8:05

    Learn Mixing and Mastering from Daniel Wyatt (founder of Mix Master Wyatt Academy and Next Level Sound). Just go to

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  • When NOT to compress your tracks – CLA Mix Tip #5

    3:48

    Grammy®-winning mixer Chris Lord-Alge (Green Day, Muse) says part of the secret to a great mix is knowing when NOT to compress. Find out which instruments are best left alone, along with how to listen properly when processing your tracks. Watch more CLA mixing tips:

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  • How to Use Compression | Logic Pro X Compressor Tutorial

    10:51

    Whats up guys!? In this video we're going to be talking about compression, specifically using the stock Logic Pro X Compressor. I'm going to go over the main controls and parameters of the Platinum Digital compressor, how compression works, and also how to apply those principles to a drum loop that I've made to give you a visual representation of how compression works. The stock compressor in Logic Pro X is an excellent plugin, and I highly recommend learning how to use it effectively. Enjoy!

    Here's the link to the Apple webpage explaining some more details about the different types of compressors:


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  • 5 Quick Compression Mixing Tricks - Warren Huart: Produce Like A Pro

    18:47

    ➡️ ➡️ Before you start using compression, make sure you download this FREE Compression Tricks cheatsheet right now:

    Today we are talking about five compression mixing tips! These aren't the most straightforward ways that we use compression. For some of you they may seem that way but these are the more interesting things you can do with the compressor!

    1. Side Chain the guitar to the lead vocal 1:37

    2. Use a compressor to sculpt the room mics 4:42

    3. Set up your compressor like a transient designer 6:47

    4. Side chain overhead mics to the main snare track 11:12

    5. Duplicate the track and nudge it backward to setup “look ahead” compression 13:44


    5 Quick Saturation Mixing Tricks


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    5 Quick Reverb Mixing Tricks


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    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Pro Tools Tips & Tricks

    9:41

    So i thought i show you guys how compression works and show you around the plugin.. I hope you enjoy and learn!!

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  • How The Pros Use EQ - How To EQ All Instruments and Your Mixes

    36:44

    Secrets of How The Pros Use EQ - Parametric, Graphic and Filters on All Instruments. Where The Sweet Spots Are On All Instruments.

    In this video I will show you how all types of Equalizers. The great Boost and Cut sweet spots of all the Individual Drums, Bass, Guitars, Piano, Organ and Strings. I discuss all my favorite Analog and Digital EQ's:
    Neve 1073,1066,1084 and 1081
    API 550A, 550B, 560
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    Trident A-Range
    Helios Type 69
    SSL E and G Series EQ

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    MCDSP Filter Bank E606, F202,P606
    Metric Halo Channel Strip
    Waves - Q10, Scheps 73, Renaissance EQ, SSL, API, V-EQ4, H-EQ Hybrid
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  • How The Pros Use Compression and EQ - How To EQ and Audio Compression for Instruments and Mixes

    27:56

    Secrets of How The Pros Use Compression and How To Use EQ - Plugins Settings for Instruments. How to Find The Sweet Spots. All With Real Examples. Ratio, Threshold, Attack, Release, Hard-Knee, Soft Knee, Gain Reduction, Band Width, Q-factor (Q), Gain.

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  • How The Pros Use Compression - Audio Compression Instruments and Mixes

    29:57

    Secrets of How the Pros use Compression. In this video I discuss how compression works: Ratio, Threshold, Attack, Release, Hard-Knee, Soft Knee, Gain Reduction. What are and How to use the Plugin and Hardware Versions of:

    Optical Compressors - like the LA2A, LA3A, Shadow Hills Mastering Compressor.Tube Tech CL1B

    FET Compressors - Universal Audio 1176, Purple Audio MC77, Universal Audio 1176 Blue Stripe, Universal Audio 1178

    VCA Compressors - SSL G Series, Alan Smart C2, Neve 33609

    Variable MU - Fairchild 660 and 670, Manley Variable MU. Altec 436C,

    How To Compress and What to Use - Kick Drum, Snare, Toms, Overheads, Room Mic and Drum Buss Compression.

    I also provide examples of using compression plugins in individual Instruments and the Mix Buss.

    The song I use at the end is called Live This Lie that I wrote with my friend and Australian DJ TyDi

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  • Compressor : What Is Compressor , How To Use Compressor Detailed Fl Studio Tutorial

    12:35

    #Compressor : #What #Is #Compressor , #How #To #Use #Compressor #Fl #Studio #Tutorial
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    well hello dosto welcome to red blood music production aj ki is video mein maine aapko btaya hai ke compressor ya compression kya hota hai or compressor ko use kaise karte hain
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  • Compression 101 | How to Use a Compressor: Basic Controls

    18:05

    In this overview of the five basic compressor controls - threshold, ratio, attack, release, output gain - I cover how these basic elements of compression can shape the tone of your signal.

    Beginning of the video - The How and Why of compression, and compressor controls explained

    8:01 - Attack and Release times explained with audio
    13:43 - Chris Lorde Alge’s compressor settings with audio
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  • Compressor Makeup Gain | iZotope Pro Audio Essentials

    1:41

    After using a compressor, the resulting signal is often quieter. This video shows you how to recover that lost level by using a parameter of compression called makeup gain.
    Think you're a studio master? Find out! Take the free iZotope Pro Audio Essentials challenge!

  • Two Secrets to Effective Parallel Compression

    6:29

    ► Want more? Mix better than ever before with the FREE workshop, The Top 5 Habits of Truly Great Mixers:

    Justin Colletti reveals two of the most important factors in getting great results out of the parallel compression technique, aka New York-style compression. For a version with audio examples, see

    If you're liking Justin's instructional videos here on YouTube and want more, you might like his new video course on mixing, called Mixing Breakthroughs. Check it out at

  • Listening to Compression | iZotope Pro Audio Essentials

    4:01

    What does compression sound like? This video will help you to hear the effects of compression so you can make decisions about where and how to apply it to your recordings.
    Think you're a studio master? Find out! Take the free iZotope Pro Audio Essentials challenge!

  • Mixing With Compression - Stacking Compressors - TheRecordingRevolution.com

    11:20

    ►► Overwhelmed by all of the Compression techniques? Download my FREE Compression Checklist →

    Part 4 of 7 - Want that upfront radio-ready vocal sound? Then you need compression. But sometimes one compressor working hard is not enough.

    In fact, my favorite way to compress vocals involves stacking two (but subtle) compressors together.

  • Using Multiband Compression on the Master Fader

    7:35

    Learn how to energize your mixes using subtle multiband compression on the master fader with the C4 Multiband Compressor. Learn more: The Recording Revolution:

  • How to Enhance a Drum Mix with Buss Compression

    9:17

    // A video on using drum bus compression for tone, thickening and to bring out the inside groove.

    Learn to use compression in a mix:

  • Vocal Mixing Tip – Double-Stacked Compression

    7:15

    Watch how to get your vocals to pop out of the mix, using the Waves CLA-2A plugin as part of a two-compressor chain. Learn more: The Recording Revolution:

  • Mixing with Compression Tutorial

    1:41

    — Learn how to manipulate shape, tone, and dynamics: Matthew Weiss takes the mystery out of compression and teaches you what it is, what it sounds like, how to use it and how it'll take your mixes to the next level.



    About Mixing with Compression:

    *Use compression to shape your sounds*

    Want to make a sound punchier? softer? rounder? sharper? Matthew shows you how to shape sounds with compression.

    *Use compression to manipulate tone*

    Hear before and after examples of how compression can make sounds appear brighter, darker, closer, further away, etc.

    *Use compression to control dynamics*

    Want louder vocals? More controlled bass? Punchier drums? We'll show you how to get there.

    *Find the best attack and release times*

    We'll teach you how to set your goal, listen critically, and shape the envelope of a sound with the best attack and release times.

    *Create a blend with parallel compression*

    Learn how to fine tune your sound by blending heavy processing into a dry signal to create the perfect tonal blend.

    *Know which type of compressor to use*

    FET, VCA, Optical and more. Learn about different types of compressors/limiters including history and ideal applications.



    Transcript:

    Hey folks. Matthew Weiss, weiss-sound.com, theproaudiofiles.com. I'm a mix engineer. I've been mixing for over a decade.

    Some clients include Ronnie Spector, Uri Caine, Arrested Development, Snoop Dogg, Dizzee Rascal, Gift of Gab, and more. I've mixed a lot of records.

    One thing I used to struggle with is compression. I think every engineer, as they're learning struggles with compression, I think even experienced engineers struggle with compression because there are so many possibilities and things you can do with compression that it becomes overwhelming.

    In Mixing with Compression, we'll get rid of the mystery and break it down into what the theoretical and technical means of compression are and how it affects sonic shape.

    Sonic shape is the crux of everything; it's understanding attack, decay, sustain, release, and how that relates to tone, texture and emotion. Then putting all that foundational understanding into practical application and going through lead vocals, drums, bass, percussion, even the whole mix.

    Once we understand the theory and get some of the tacit knowledge and practice, then compression no longer seems mysterious.

  • What is Audio Compression? How to Use a Compressor | LANDR Mix Tips #8

    4:59

    What is audio compression? Audio compression is the process of reducing a signal’s dynamic range. Dynamic range is the difference between the loudest and quietest parts of an audio signal.

    You need to reduce the dynamic range of most signals for them to sound natural on a recording. Compressors work by attenuating the loudest parts of your signal and boosting the result. After compression the quieter parts of a signal are more apparent since the dynamic range has been reduced.

    To understand compression we have to talk about transients and dynamics.

    Transients are the initial high-energy bursts at the beginning of a sound. They give our brains a lot of information about a sound’s quality.

    Dynamic signals are a mix of transients and their decay.

    Compression should be used to strike a balance so that both the louder and quieter parts of your sound can be heard clearly.

    When you’re dialing in a compressor, you need to listen for your signal’s dynamics—not its timbre.

    As you adjust your settings, ask yourself:

    What parts of my signal are becoming more apparently loud?
    What’s happening to my transients and dynamic range?
    Is it obvious where the gain reduction is occurring?
    Am I making things worse?

    The most common settings on a compressor are threshold, ratio, attack and release. I’ll go through each of them and demonstrate how they affect your signal.

    The effect of compression can be easier to hear on percussive sources, so for this tutorial I’ll be doing some drum bus compression by compressing a full drum kit on a bus. I’ll start out with best compressor settings for letting you hear the compressor’s effect, then I’ll dial in a more musical setting to bring out the body of the drums and the sustain of the cymbals.

    Threshold sets the signal level where the compressor’s gain reduction begins working.

    A lower threshold will apply gain reduction to a greater portion of your signal. A higher threshold will affect only the most aggressive peaks, leaving the rest untouched.

    Use the threshold control to define which part of your signal you want to reduce.

    Example: I'll pull down the compressor’s threshold until I start to hear it acting on the part of the signal I want to control. When I start to hear too much of the signal being compressed, it’s time to back off. I can confirm that I have a healthy amount of gain reduction by looking at the meter.

    Ratio determines how much gain reduction your compressor applies when the signal goes above your threshold.

    It’s called the ratio because it’s expressed in comparison to the uncompressed signal.

    The higher the first number of the ratio, the greater the factor by which the gain is reduced.

    Use the ratio to tailor the amount of compression so that it’s effect isn’t obvious or distracting.

    Example: I started out with a with a fairly aggressive ratio to demonstrate the effect of the compressor. but I want to control the dynamics without negatively impacting the sound. I’ll decrease the ratio from 6:1 to 4:1

    Attack and Release set the timing of the gain reduction.

    The attack control determines how fast the compressor reaches its full range of reduction when the signal passes the threshold.

    The release sets how quickly the reduction stops after the signal has dropped below the threshold.

    These controls are the key to getting musical sounding compression.

    Example: In this case, I have percussive material, so I need to be careful with the attack and release. The attack needs to be slow enough so that the compressor doesn’t crush the transients. If we attenuate them too much, the drums will lose their impact.

    I’ll slow down the attack because I can hear the gain reduction acting on the transients in a negative way.

    Now I’ll decrease the release until just before a pumping effect starts to occur. This way I can tell that the compressor is enhancing the drummer’s rhythmic playing, not detracting from it.

    Example: I’ve matched the output level of the compressor with the dry signal, so by bypassing the effect we can make an informed comparison about whether what we’ve done is contributing positively to the sound.

    In this case, we’ve done well. With the compressor engaged, the drummer’s playing is enhanced by the compression and the body of the drums is coming out nicely.

    It’s important to level match and bypass to check your work. Compression is a powerful tool, and you can easily do more harm than good.

    ---

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  • Are You Listening? Ep. 3 | Compression in Mastering

    26:31

    How do you 'glue' a master together using compression? What's the difference between compressing and limiting? Should you use single or multiband compression?

    Listen closely to Episode 3 of ‘Are You Listening?’ as professional mastering engineer and iZotope Director of Education Jonathan Wyner shows you how to set attack and release times in your compressor, how to use Ozone's sidechain detection circuit to create a smoother low-end sound and much, much more!

    Note: Some audio examples you hear have been altered from their original recordings to bring attention to the core concepts highlighted in the 'Are You Listening?' series.

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    #AreYouListening #iZotope #Compression

  • How to Use Compression to Enhance Attack

    16:02

    How to use compression to exaggerate dynamics in a mix.
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    Okay, this tutorial is going to be about how to use compression in a sort of unexpected and backwards way, which is to use it to exaggerate dynamics. Normally, when we think about compression, we think about controlling the dynamics, getting everything to be dynamically closer together. That is in fact the exact definition of compressing something. We're squeezing it together.

    But what I'm going to show you is that by setting the attack and release times, and the input in exactly the right way, we can create a compression effect that does the opposite, and actually expands the dynamics.

    Before I do that though, let's play a little bit of this record just so we know what we're working with. Alright, here we go.

    [mix]

    So this is really rhythmically driven by the kick and the percussion, and if I just solo this up real quick, we get this.

    [kick and percussion]

    Now, the kick has a nice, really well shaped attack that's just sort of plotting along. We've got a good drive from that sort of almost train track sounding percussion thing that's happening over on the right, but we have this other percussion that's kind of almost acting like a snare drum.

    [percussion]

    But it doesn't quite have the bite that I want from it. I want to give it more of that snap, more of that sound that you would get from a more traditional snare.

    So I'm going to show you how we're going to do that. I'm going to pull up the Slate VMR here, and I'm going to go to a classic compressor for this technique, and that is going to be the FG Stress. Very similar to a Distressor, there's a lot of models of this, but this one happens to be one of the best, if not the best, and I'm going to give you the basic formula.

    What we're trying to do is we're trying to make the compressor miss the attack. In other words, all that snap, the compressor is not going to react fast enough in order to clamp that down, but what it is going to react to is the sustain, so basically we're going to use this compressor to take the sustain of the drum down, and conversely, that therefore makes the attack come up.

    It's just proportions. So if we look at our settings, we're going to want to have a very, very slow attack time. This is not going to change when the compressor starts reacting, it's just going to change how fast the gain reduction is applied.

    The release, we're going to get to that. That's going to be a really important part of this equation, because it's going to become a really interesting musical control when we use these very unique settings.

    Now, the input is sort of like the threshold on other compressors, except for on this particular compressor, the threshold is fixed, so we're going to push into the threshold, rather than lower the threshold, but if we're using a different compressor for this, you would lower the threshold, and the idea here is we want the compressor to be acting on most of the signal. Not just the attack, but also the sustain.

    So I'm going to have the input up pretty high, and I'm going to have to play around with it a little bit, and therefore, I'm going to have the output pretty low, because I don't want to clip my output.

    Now, the other thing that's going to be important in this scenario is that we use a hard knee style of compression. Now, a lot of the times, the knee in a compressor is directly tied to the ratio of compression, and that's going to be true of SSL compressors, that's going to be true of 1176s, and that is absolutely true of Distressors as well, including this FG Stress model.

    So I'm going to go up to 20-to-1, or Nuke, and I'm going to be in the very, very heavy ratio area. These are all going to be too soft down here, it's not going to give me the snap I'm looking for, so when we're playing around with what exactly we want in terms of tone and texture and snap, we're going to be looking at 10-to-1, 20-to-1, and Nuke. So now let's start playing the signal and start playing around with things. Ultimately, what we're going to want to do is dig into this and do a pretty fair amount of gain reduction.

    [kick and percussion]

    That might be a little too much. We can maybe back that off a little bit. There we go. So let me bypass this real quick.

    [percussion]

    Bring it back in.

    [percussion]

    We've definitely lost some signal level, so let's push up the output a bit.

    [truncated]

  • Drums Mixing Tutorial - Parallel Compression from Pro Mixers Unique Mixing Course

    37:20

    Drums Mixing Tutorial Parallel Compression mixing drums how to mix dums from pro mixer's unique mixing course. How to make a huge sounding drums. How to mix music in this unique audio mixing course. How to make powerful drums correctly using parallel compression. The best parallel compression explanation. Professional mixing drums tutorial from Andrew Zeleno. Dynamics. Parallel compression Myths and things you have never known about drums mixing. Drams layering. How to work with acoustic drums. The best tricks how to mix drums. Native Instruments. Kick mixing. Snare mixing. How to mix a kick. How to mix a snare. How to make punchy drums. HiHat. Hat. Overhead. Overheads. Room mics. Mixing expert. Waves plugins. What gain reduction. Attack. Release. Ratio 2:1 3:1 4:1 10:1. Soft knee. How hard to Compress? Panorama. How to pan drums. C L R. CLR. Top 20 Audio Engineers. Top 20 Mixers. Unique Course. Master bus compression. How to eq. How to use a compressor. How to mix drums in the right way. How to eq a snare. Music production tutorials. Music writing tutorial. Audio mixing tutorial. Audio production tutorial. Mastering tutorial. Professional mixing course. Gibson. AKG. SSL Super Analogue. U87. AMS Neve 1073. Approach in mixing. Waves SSL channel. 1176. All:1 CLA-76. REQ6. Renaissance EQ. Reverb. Sends. Pro Tools 10. Pro Tools 12. Cubase 8. Protools. Steinberg Cubase. Native Instruments Kontakt. 100ms 300ms 600ms 10ms. 3ms. 30ms. Auto release. Stereo field. Pan. Transients. Fender. API 550. Shelf filter. Bell filter. Low pass filter. Hi pass filter. How to mix in Pro Tools. How to mix in FL Studio. How to Mix in Studio One. How to Mix in GarageBand. How to Mix rock music. How to mix metal. How to Mix Rock Songs. How to mix blues. how to get huge drum sounds. Drum Mixing Tutorial. Professionally sounding songs. How to make a song sound professional. How to make your music sound professional. How to make your mix sound professional. How to make your song sound professional. Pro sound. Pro mix. Pro music. Professional audio quality. How to become a professional audio engineer. How to become a professional mixer. How to get a job in music industry. Where to learn music production. Where to study music production. Where to learn mixing. NY style of compression. NY compression. Purposes of parallel compression. Goals of applying parallel compression. Aux bus. Threshold. Make Up Gain. 10db of compression. SSL Comp. ITB. where to use parallel compression. Dynamics. What settings to use on a parallel compressor. NI Solid Bus Comp. Wave explanation. Nature of sound. Graphic Wave form of drums. SSL Listen Mic compressor. drum bus. drum mixing tutorial

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  • Compression 101: What is Knee?

    5:09

    // A video breaking down the knee function of a compressor.

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    Transcript:

    Hey guys. Matthew Weiss here — theproaudiofiles.com, mixing101.co.
    On the road, doing some session work. I got a little break here during a session, so I want to tell you guys about a compressor setting called the “knee” function. I'm going to explain to you what that is and why you would use it.

    So I've got this lead vocal here, and I've got a compressor on it. Let's check that out.

    [mix]

    So you see that right now, the way it's set, whenever the vocal gets to a certain level of dynamic, like a certain loudness, then it kicks the compressor in and the compressor starts working. That's called a hard knee. It means when you're above the threshold of amplitude that it allows, that's when the compressor is working, and as long as you're below that, then the compressor is not going to do any work at all.

    Now, you can see here on the graph, it looks like a totally linear line here, and then it just shelves off. This is the demonstration of the compressor action.

    Now what I'm going to do is soften the knee, and this is saying how far below the threshold does the compressor kick on, and if I set it to like, 20 decibels, that means that the compressor is actually going to start doing subtle amounts of gain reduction well below where the actual threshold is. So now I'm going to play it again.

    [mix plays]

    So you can see this time around that the compressor is acting on the quieter signals as well, and while it's now sort of too much, right? It's pulling the quiet signals down too effectively, but let's split the difference. Let's go for maybe about 10 dB. And when you're setting a knee, it doesn't have to be exact.

    Let's give that a listen.

    mix playback]

    That sounds like a fairly decent balance.

    Now what I'm listening for is the transparency of the compressor action.

    The reason why you might want to play with the knee control a little bit is because it makes the transition from not compression to compression subtler. So, while it makes the tone and action of the compressor a bit more homogenous over the overall signal, because it's doing that, it also means that when the compressor is really kicking in, it's not quite as obvious.

    So one spot that you very commonly want to experiment with the knee is on something that's meant to sound homogenous and is also very dynamic. So something like vocals, or piano, or acoustic guitars that have very dramatic differences in volume in certain sections.
    Those are all places where you might want to work with the knee.

    Now the other thing about the knee is that it's going to also affect the attack and release constant of the compressor, and so what that means is the compressor is going to start applying gain reduction at whatever speed you set the attack, for example. It's going to do that based on where the compression action begins.

    So when you have a hard knee, then your compression is kicking in only when the threshold has been breached, which is at louder parts of the signal.

    If you have a softer knee, which is what we have now, then it's going to start kicking in well below the threshold, and therefore, the attack constant is effectively going to be speeding up in a way.
    So what did that all mean? Well, it means ultimately that you can get a smoother and more rounding attack effect, and that can be useful if you're trying to really soften a snare drum, for example. Rather than just simply use a quick attack, what you might want to do is use a quick attack and also soften the knee.

    Now, the other thing to realize about this knee setting is that this compressor that I'm demonstrating it on has a variable knee. Not every compressor has a variable knee, but every compressor has it's own knee action, and so when you have things like the SSL buss compressor for example, you might find that the knee of the action is softer at 2:1. It's a little bit harder at 4:1, and it's almost a hard knee completely at 10:1.

    So this is how getting to know and understand your compressor can be really helpful in terms of determining what compressor is best for what source.

    Alright guys, so that's the knee on a compressor. I hope that you learned something. Until next time.

  • Mixing with Analog EQ and Compressors - Pros, Cons and Ultimate Tutorial from Pro Mixer

    49:42

    Mixing with Analog EQ and Compressors. Audio Engineering Tutorial on Gain Staging, Pros and Cons of Analog with DAW. How to Connect Channel Strip to Audio Interface. SSL Mynx. SSL Preamp. SSL 4000 E-EQ. 4000 EQ. SSL 9000 EQ. SSL SuperAnalogue EQ. SSL Alpha Channel. Solid State Logic. SPDIF In. Focusrite Audio Interface with Digital Input. Headroom. Line Output. Resistance, Impedance. dbVU, dbFS. 18 db. Plugin Emulation. Line In. Clipping. Coloration. Compression. Analog Bus. Saturation. Stainberg Cubase Tutorial. Audio Mixdown. Render In-Place. Real-Time Export. ADC converter. Analog to Digital Converter. Delay Compensation. Phase Explained. Phase Cancellation. External Plugin. UAD 1176 Compressor. Word Clock. Negative Phase. Wide sounding Synth. Panning. What is Mono. What is Stereo. Mixing in Mono. Left Channel. Right Channel. Cubase Routing Editor. Mixing in the box VS Mixing in Analog. Softube Console 1. Slate Digital FG-S. Solid State Logic Duende. Waves SSL Channel. Native Instuments Solid EQ. Acoustica Audio. Train Ears. Fine Tuning. Sound Professional. Mixing Skills. Audio Mixing Education. Class. Mixing Tips. Liniar Phase EQ. Price. Sound Test. Guess which Track is Processed with Plugin and Which one with Analog EQ. Pluck Synth. Lead Synth. Kick. Snare. Hihat. Bass. Harp. XLogic. Monitor Mixer. Monitor Amplifier. Monitors Connection. Waveform. How to Use EQ. How to Use Compressor. EQ Settings. Compressor Settings. How to Connect Analog EQ and Compressor to DAW. Delay. Snare Drum. Kick In. Overhead Mic. Master Bus Plugins. Focusrite Mixer. Omnisphere Synth. Best Presets for Mixing. Presence. Clarity. Stereo Field. Audio Quality.
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  • Parallel Drum Compression Using Pro Tools Plugins | Crush Bus

    3:34

    (Drums) Parallel Drum Compression Using Pro Tools Plugins | Crush Bus

    Using only stock Pro Tools Plugins, Fab Dupoint demonstrates how to apply parallel drum compression. He refers to it as the crush bus. Get all the information that you need in this parallel compression video tutorial on mixing drums as only Fab can do.

    Learn how to mix drums with this new technique on parallel compression drums.

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  • Compression Pro Tip - Compressing in Stages

    10:09

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    In this video, Echo Sound Works shows you how to to get a more musical sounding result when compressing by compressing in stages.

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  • How to use stock compressors in Logic Pro X with Rob Mayzes - Warren Huart: Produce Like a Pro

    19:36

    Learn how to use stock compressors in Logic Pro X here:


    It's important to know how and when to use a compressor so that when you mix with one, you can get the most out of it and use it confidently. When using a compressor the difference you hear while changing settings can be very subtle. Effective usage requires going beyond an understanding of the controls and requires the user to take note of the subtleties that are presented while making changes with the controls. Or, in other words, using a compressor will require ear training.

    Learn how to use stock compressors in Logic Pro X here:


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  • Parallel Compression on the Whole Mix – the ‘Rear Buss’ Technique

    10:51

    Learn Andrew Scheps’ signature technique of parallel compression on a ‘rear’ buss in order to add energy to a mix.Watch mixing tips from Andrew Scheps himself: Also visit

  • Mixing Lead Synths with Compression Ableton Tutorial

    5:46

    How To Compress Synths Leads in 3 Easy Steps. In this tutorial I use OTT, Camel Crusher (the best free plugin ever), and Sidechain compression to maximize the lead synth in my track.These plugins are also available for producers in FL Studio 12, Pro Tools 12, Logic Pro X, and Studio One. All the sounds used to make this beat came from Whole Loops Raw Hits 2 Sample pack linked below.

    The finished track can be heard below


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    #Ableton #Tutorial #Mixing

  • How To COMPRESS Vocals - Like a PRO!

    12:54

    In this video you'll learn how to compress vocals using a very simple method that is repeatable and works in almost any project.

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  • Should you use EQ before or after compression? | Mixing Basics - Warren Huart: Produce Like A Pro

    19:33

    ➡️➡️Click here to learn more about using EQ or Compression first:

    In today’s video we are going to be talking about whether we should EQ before or after compression! There is not a lot of consensus on this topic, because the truth is, it may vary from case to case. The main question you should be asking when trying to make this decision is: what is the best thing to do on this project?

    In the video, I will give you a few examples of where I EQ, why I EQ and how I use it, whether it is before or after compression, of a combination of the two.

    In the first example, I have a lead vocal with loads of energy, where the vocalist is at the top of her range. First, I’ve got an REQ with high passing, and then I am going into a de-esser. This is a single band compressor set to 5 and a half K, and then going into a compressor.

    So why am I doing this? The REQ is wiping off the low-end in the singer’s voice that isn’t necessary. There is a whole bunch of noise coming in the background – AC and foot noise – and a lot of low-end that we don’t need. Many of you know that low-end takes up a lot of energy, meaning that if there’s low-end in her vocal that I don’t want, that might compress earlier than anything else, so I am EQ-ing right away, before I do into any kind of compression or de-essing. I want you to do two things here: listen, and also look over to see how much compression is going on. On this vocal, there was about 2-3 dB of extra compression.

    On the piano part of this track, a lot of the low-end was too compressed, and you lost some of the exciting bounce in the track, which is why you would EQ before compressing, in that case.

    With many things, especially vocals, you will use a combination of serial EQ and compression. For me, de-essing always has to start as either the first or second step. Even though I high-pass, I don’t want to boost any of the high-mids and I wouldn’t want to do that without using a de-esser first, because I don’t want to boost something that I don’t want there in the first place.

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  • How to Add Punch and Depth to Drums using Parallel Compression

    3:17

    Learn a simple mixing trick that will give your drums more punch – parallel drum compression with the Waves SSL plugins:

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