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Playlist of How The Pros Use Compression

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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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    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
    Pultec EQP- 1A, MEQ5
    GML 8200
    Electrodyne 511, Quad Eight 310
    Trident A-Range
    Helios Type 69
    SSL E and G Series EQ

    Digital EQ's:

    MCDSP Filter Bank E606, F202,P606
    Metric Halo Channel Strip
    Waves - Q10, Scheps 73, Renaissance EQ, SSL, API, V-EQ4, H-EQ Hybrid
    Universal Audio - Cambridge EQ, Pultec, Neve, Helios, Harrison, Neve 31102, Trident
    SoundToys - Filter Freak
    FabFilter Pro Q2

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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


    5 Quick Delay Mixing Tricks


    5 Quick Reverb Mixing Tricks


    5 Quick Master Bus 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.

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    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.

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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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    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.

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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.

    Like, favourite and subscribe to support ADSR.

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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:

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    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!

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    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!

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    Quick Production Tips #6: Kick Compression

    9:01

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    Compression 101

    18:11

    Compression can be a really difficult concept to wrap your mind around so in this episode we're gonna tackle this topic and hopefully bring some clarity. In the comments let me know what compressors you're using.

    JHS Pedals:

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    Logic Pro X - Understanding Compression with Logics Compressor Plug-in

    59:19


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    Mixing With Compression - Threshold & Ratio - TheRecordingRevolution.com

    16:26

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

    Part 3 of 7 - When using compression in your mix where should you set the threshold? And what is the best ratio for your track? The answer is counterintuitive.

    Today I'm going to show you that the numbers don't matter - the meters do!

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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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    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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    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 101: How to Use a Compressor

    12:48

    Instant access to 50+ in-depth mixing tutorials ➥
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    An overview of the basics of audio compression. Learn how a compressor works, what the compressor controls are (threshold, attack, releases, ratio, knee) and how to use compression in a mix.

    ---

    Excerpt from

    ** Shape **

    Instead of thinking of a compressor as compressing, think of it as something that changes the shape of a sound. If you start listening for shape, the mysteries of compression will reveal themselves to you, and fairly quickly.

    It may help to think of shape in terms of a sound's envelope: it's attack, decay, sustain, and release.

    Setting a compressor is like setting a mold for the signal to fit into:
    - Threshold determines at what amplitude the compressor starts working.
    - Ratio is how hard it's going to work.
    - Attack is another way of saying how sharp will the transient sound be.
    - Release is how much tail or sustain you want to emphasize.

    **Transients**

    A transient is a very fast signal — in other words the attack of the signal. Drums have transient attacks. Strings have gradually rising attacks. So the attack control on the compressor is really like saying: how much emphasis on the attack of the signal do you want?

    - Do you want the attack to be really rounded out and diminished? Set the attack fast.

    - Do you want the attack to be prominent and stick out? Set the attack slower.

    Of course, this works directly in conjunction with the threshold. Try it yourself, set the threshold low, and the attack short. Suddenly, the attack sound of your snare is gone. Set the threshold low and the attack long. Suddenly the punch of your kick is very round and bouncy. Set the threshold high and the attack short. Now the snare is a little fatter and rounder, and not quite as spikey (but possibly a little duller). Set the threshold high and the attack long — the change is hardly noticeable, the attack is just a little bit rounder.

    **Maximum Punch**

    There is a thin line between a transient sound, and a sustained sound. A sound that holds for any noticeable amount of time is sustaining. A sound that moves by too quickly to register as it's own moment is transient. But transients can vary in length. A transient can be half a millisecond or it could also be ten milliseconds; they won't sound the same. A big factor in punch is how long that transient exists. A quick transient sounds spikey, but a long transient sounds punchy. You want to find the point that makes the transient exist as long as possible before flattening out or becoming a sustained sound. Only your ear can tell you where that point is.

    Good samples are already shaped to have that kind of impact — and any additional compression may actually soften that. Of course, punch has a lot to do with frequency as well, but that's for another article.

    Now what about the release? The release is super elusive. It determines how long it takes for the compressor to let go. If the release is too short for the signal you are going to get a disjointed sounding shape which usually results in distortion. If it's too long, your signal never really returns to its natural shape, and you generally lose tone (or you just get permanent drive on the compressor's output, giving the whole signal a new bit of tone). So the idea is to find a point that emphasizes the sustain (which is where most of the signals tone lives) properly.

    Lastly, when the attack and release are set in a way that seem to argue — the compression can become very audible. You either hear the decent or the ascent of the signal level. This is called pumping. It's generally annoying, but can sometimes be used an effect. If audibly desired, consider the rhythm of the release time, and ask yourself if it's groove is complimenting the song.

    **Conclusion**

    So, rather than thinking of a compressor as something that effects the level of a signal. Think of a compressor as something that effects shape. Why? Because level can be controlled with the volume fader more accurately and transparently. A fader doesn't really control shape, unless you are being extremely meticulous. Conversely, compression will always effect the shape of the sound it is working on.:

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    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 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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    Mastering Your Compressor: Attack & Release Settings | SonicScoop.com

    18:21

    Join Justin Colletti of SonicScoop.com for a super in-depth look at mastering the Attack and Release settings on your compressors.

    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

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    Mixing With Compression - Top 3 Compression Mistakes - TheRecordingRevolution.com

    9:15

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

    Part 7 of 7 - Mixing with compression is critical to getting a good sounding mix, and yet there are so many ways to screw it up!

    Today I want to share with you the 3 biggest mistakes I see home studio owners making (and I've made all three) when it comes to compression and how you can avoid them.

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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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    How to Use Compression for Tone and Color in a Mix

    13:08

    // A video on using compressors for manipulating tone and color in a mix.

    Learn more from Ian Vargo in his debut course ➥

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    Transcript excerpt:

    Hello, this is Ian Vargo with The Pro Audio Files.

    Welcome to part four in a five part series all about compression.

    Today, I'm going to show you how you could use different compressors to impart harmonic content, otherwise, sometimes known as “color,” or “tone,” onto your source material.

    It's a popular technique amongst engineers to use compressors almost as equalizers, and I'm going to show you a couple of different compressors, and the tones that they bring to the table. Hopefully this will help your mixing, I know it's helped mine.

    Okay, so let's start with a cool little test. By cool, I mean if you're a nerd like I am, you're going to like this. Alright, so in Pro Tools here, I've got a 500Hz sine tone, and a 100Hz sine tone.

    I also have — these are inactive right now, but I'll be making them active — five different compressors. After these compressors, I have an insert of the FabFilter Pro-Q 2, which has a really awesome frequency analyzer.

    Let's go ahead and hit play and pay attention to the analyzer.

    [sine wave]

    So you see there, 500Hz.

    [sine wave]

    And 100.

    Now, I'm going to make these compressors active, and what you're going to see is the harmonic content that is imparted onto the signal.

    [sine wave, without and with compressors]

    That LA-2A goes super high.

    [sine wave, without and with compressors]

    So as you could see, each of these compressors have their own sonic character that they add to the signal.

    Let's go down to 100Hz and let's take a look and listen, and I'm also going to enable the feature in which I hover above the frequency analyzer.

    [sine wave, with and without compressors]

    A lot of mid-range in the Fairchild.

    [sine wave, with and without compressors]

    That's really interesting.

    Alright, so please consider this when applying this to musical material. Not all compressors are created equal. There are some that have a boost in the mids, a boost in the highs, that make your lows fuller, I really like the Fairchild, you'll be seeing that later.

    So just keep this in mind and perform tests like this and be a nerd as often as you can. Because ultimately, you want to know all of the tools that we have at our fingertips as intimately as possible.

    I'm going to show you that Fairchild on base technique that I was talking about before. The Fairchild is an iconic compressor. It was used on numerous Beatles recordings, Pink Floyd, very popular in Abbey Road studios.

    If you were to attempt to purchase one, you might be able to find one on eBay for $20,000 or $30,000. Fortunately, Universal Audio makes a more affordable version of it.

    Let's take a listen to this bass track without the Fairchild engaged.

    [bass guitar]

    Okay. Let's listen, and what I want you to listen for is a mid-range sort of aggression that is added to the signal when I engage the Fairchild, as well as a low frequency bump. You're really going to hear it in the context of the mix, but let's play it soloed for now.

    [bass guitar, without and with Fairchild compression, then full mix]

    Definitely more smooth and aggressive sound. We benefit from the dynamic range compression where it really smooths out the performance, brings in some nice characteristics of the fingering of the bass, but also we get this really pleasant, low frequency bump.

    I'm driving the input gain somewhat hard. I've got my threshold set in such a way where I'm only doing about — up to 3-4 dB of compression. This version of the Fairchild has a sidechain filter.

    [bass guitar, adjusting sidechain]

    So as you see, as I turn up the sidechain filter, it is applying less compression because it is receiving less low frequency content. And of course, it's always great when these plug-ins have the mix dry/wet knob.

    Right here, I have an instance of the stereo version of the Fairchild that I'm actually using on my master fader. I wanted this track to have a really vintage vibe, and I really do believe that the Fairchild helped me achieve that. It's got a really cool tone on the master fader if you use it pretty conservatively.

    Let's take a listen without any compression.

    [mix]

    Let's bring it in.

    [mix, with Fairchild]

    The cymbals are a little bit brighter, and to me it just sounds a little bit clearer. I should say that I level matched for the purpose of this tutorial, because I know some people get upset when the post-compressed signal is significantly louder than the uncompressed signal, but in the final version of this mix, I did use the output to add some gain to the signal.

    [truncated]

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    How to Glue your Mixes together with Buss Compression

    9:32

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    In the following tutorial we'll show you how to get a mix to sit together. You'll understand why the use of a buss compressor is important to your mixes.

    Applied in the correct way, buss compression can ‘glue’ the the elements of a mix as one, making your track sound effectively whole.

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    Mixing With Compression - Attack and Release - TheRecordingRevolution.com

    12:22

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

    Part 2 of 7 - Mixing with compression means understanding the power of the Attack and Release knobs. These two controls allow you to completely change the tone and energy of your track.

    In this video I'm going to explain how to harness Attack and Release so you can do things like fatten up some drums or create more punch and energy on just about anything.

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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.

    Learn the fundamentals of mastering, and follow along with the series by downloading a free trial of iZotope audio mastering software, Ozone:

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    #AreYouListening #iZotope #Compression

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    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:

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    Audio Basics: How to Use a Compressor | SpectreSoundStudios TUTORIAL

    14:35

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    How to Use Compression to Shape Reverb and Delay

    7:41

    Learn how to use reverb like a pro ➥

    A video on using compression to shape the time constant of your reverb and delay effects.

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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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    What is compression? When to use compression?

    4:42

    Compression is an automated way to control the dynamic range of an audio signal. It is able to decrease the volume of loud sounds or increase the volume of quiet sounds depending on the type of device used. And how it is set, (upward/downward compression). This video focuses on downward compression, I also explain the concepts of multiband compression, limiting and maximizers.

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    COMPRESSION➤
    Dynamic range compression (DRC) or simply compression is an audio signal processing operation that reducecs the volume of loud sounds or amplifies quiet sounds thus reduing or compressing an audio signal's dynamic range. Compression is commonly used in sound recording and reproduction, broadcasting, live sound reinforcement and in some instrument amplifiers.

    A dedicated electronic hardware unit or audio software that applies compression is called a compressor. In the 2000s, compressors became available as software plugins that run in digital audio workstation software. In recorded and live music, compression parameters may be adjusted to change the way they affect sounds. Compression and limiting are identical in process but different in degree and perceived effect. A limiter is a compressor with a high ratio and, generally, a short attack time.

    #compression #whatiscompression #howtousecompression

  • desc

    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:

  • desc

    Two Secrets to Effective Parallel Compression

    6:29

    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

  • desc

    Top Mixing Engineer Tony Maserati on Multiband Compression for Vocals

    9:54

    Grammy-winning mixing engineer Tony Maserati (Black Eyed Peas, Jason Mraz, Jay-Z, Beyoncé) demonstrates his approach to using the C4 Multiband Compressor on vocals. The information in this video also applies to Waves C6 Multiband Compressor plugin.
    C4:
    C6:

  • desc

    Bass Compression with Robert Keeley

    32:20

    Juan got to sit down with one and only Robert Keeley to talk bass compression at Guitcon 2017 in Markneukirchen, Germany. Keeley gives us the scoop on his Compressor Pro and the Compression stage of the Tone Workstation.

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  • desc

    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

    At Next Level Sound, you can also learn Music Production, Music Composition, Sound Design, and Music Business. Our Complete Producer Bundle has you covered! What's more, our mentors are all successful music business veterans. Take multi-platinum, Emmy- nominated Daniel Wyatt. Or, 3 times Grammy-nominated Scott Barkham, Carnegie Hall Composer Kristin Hevner, and Ableton Certified Chris Petti. Want to see more? Just go to

  • desc

    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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  • desc

    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

  • desc

    2 Ways To Compress Guitars - TheRecordingRevolution.com

    8:09

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  • desc

    Mixing Distorted Guitars | High Gain Tips by Joe Barresi

    12:53

    Mixing distorted guitars (rhythm and lead) for a wide, crunchy, heavy tone. Hard rock producer and mixing engineer Joe Barresi is upfront about his guitar mixing techniques. Learn more from Joe:

    When & What:

    • 0:06 — Joe's General Approach

    • 2:56 — Compressing (+EQ) Rhythm Guitars

    • 5:04 — The Clint Eastwood Track

    • 6:07 — Parallel Distortion

    • 8:26 — Making Stuff Outside the Speakers

    • 9:51 — Making Solo Guitars Stand Out


    Waves plugins used in this video:

    • SSL E-Channel —

    • S1 Stereo Imager —

    • Renaissance Axx —

    • API 560 —

    #MixingGuitars

    Music: “Mercury Gift” by Zico Chain

    Also check out Joe's ProSound Workshop -

  • desc

    Cheapest Tube Compressor on Amazon

    9:37

    Cheapest Tube Compressor on Amazon
    Get the ART PRO VLAII on amazon:
    Get it at Thomann:
    #NOTSPONSRED

    Learning guitar? Guitar Tricks has over 11,000 online video lessons. Get a 14 day trial here:

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    About Spectre Sound Studios:
    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.
    We've covered Moon on the Water, played Bias FX, given you the absolute best in Stupid Musician Texts, ranted & raved about bass guitar, and this channel is where The Eagle has Landed.
    Everything you've wanted to learn about recording Hard Rock & Heavy Metal can be found right here on this channel!

    I also respond to your comments & questions: The best make it into the SMG Viewer's Comments series of videos. Loads of fun, lots of laughs.

    Thanks for checking out my channel & please subscribe!

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    5 Quick Master Bus Mixing Tricks - Warren Huart: Produce Like A Pro

    30:18

    ➡️ ➡️ Before you start using the master bus, make sure you download this FREE Master Bus Mixing Tricks cheatsheet right now:

    Today we are talking about 5 Quick Master Bus Mixing Tricks!

    1. Automate the output of your last plugin 2:52

    2. Use a compressor with a side chain HPF 4:47

    3. Bled Clean and Parallel Busses 9:42

    4. Automate limiter threshold 23:07

    5. Automate master buss EQ 23:57

    More Quick Mixing Tips:

    5 Quick Compression Mixing Tricks


    5 Quick Saturation Mixing Tricks


    5 Quick Delay Mixing Tricks


    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.

  • desc

    Compression Basics: 1176 into LA-2A on Vocals + CL1-B on Keyboards

    7:27

    // The first in a series of videos on compression. This one covers controlling vocal level with an 1176 into an LA-2A and compressing keyboards with a CL1-B // 5 Things to Listen for When Using Compression:

    More compression videos from Ian Vargo:



    Transcript:

    Hello, Ian Vargo here with The Pro Audio Files.

    Today is the first in a five part video series on compression. We recently released an article on the five things to listen for when using a compressor, and first up is one of the most common uses for compressors, which is the control of dynamics and taming peaks.

    So firstly, let's take a look and listen to this vocal performance. We've got a good amount of dynamic range, a relatively quiet level in the verse. It's a little bit louder as we enter the chorus, and then at the end of the chorus, we have a climax in amplitude, so to speak.

    Let's take a listen.

    [music]

    Let's move forward to the chorus.

    [chorus]

    So the goal here is to bring the level of the verses a little bit closer to the level in the choruses, and to also — there are a couple of lines that really poke out in my mind, particularly, “Wrap my” just seems a little bit like it's sticking out more than the rest of the lines.

    So what we're going to do is apply the classic 1176 into an LA-2A technique.

    Let's activate the 1176. I've got a pretty fast attack and fast release time, and I'm going to set my input and output to a point where the loudest parts of the vocal performance are brought down, but the quietest parts are not affected.

    Let's take a listen to the verse.

    [verse]

    Let's move forward to the chorus.

    [chorus]

    Okay, so as you can hear, when the vocal gets really loud and expressive, we have compression being applied.

    What you're hearing now is only a piece of the final puzzle. It does sound a little bit quiet. We are going to use the LA-2A — the gain feature here — to bring up the overall level and use the peak reduction — I'm going to set it to a point where we have about — between one and up to three dB at any given moment.

    Let's take a listen with the two together.

    [mix]

    And let's move forward.

    [mix]

    Alright, so what we're hearing is definitely a smoother, more even vocal performance. Sometimes when you have a lot of compression applied, sibilant sounds, like this right here, I believe it's a D, let's take a listen.

    [mix]

    I'll show you what I did.

    I automated volume and clip gain, because sometimes, when you apply a lot of compression to a source, sibilant sounds become extra harsh.

    [mix]

    That really pops out.

    So what I'm doing is zooming in a little bit, using clip gain to bring it down about five dB, and then volume automating down a couple dB as well, and it sounds smoother.

    [mix]

    Alright, so as you can hear, this is definitely a tried and true technique for a reason. We have the 1176 taming the highest of peaks, and the LA-2A giving some general compression and overall smoothness to the signal the entire time.

    Next, I'm going to show you how to use compression to even out the dynamics of a keyboard part.

    Let's take a listen to this with no compression whatsoever.

    [mix without compression]

    Okay, it sounds nice, but there are a couple of notes, a couple of phrases that seemed to poke out a little bit to me. They stick out of the mix and sound less pleasant in comparison to everything else.

    In particular, right here and right here just seem to pop out a little bit.

    So I'm going to use compression to tame those transients. Let's take a listen.

    We've got the TubeTech CL-1B, which is a collaboration between Softube and Universal Audio. It's one of my go-to compressors, because it's versatile and it works quickly.

    Let's take a listen.

    [mix]

    So if we pay attention to the settings, I've got a relatively fast attack. I want some of the transient to be allowed through the compressor, but I want to catch it pretty quickly.

    Let's take a listen to what it would sound like if I had a slow attack.

    [slow attack compression]

    And if I had an all the way fast attack...

    [fast attack compression]

    It starts to sound a little bit pumpy and unnatural, so I dialed in a setting I was happy with.

    I'm using a relatively slow release for the purpose of — if you look at the waveform, the sustain and the decay happen a little bit too quickly, so I wanted to even it out and make the note seem like it sustained a little bit more, so I used a pretty slow release to help emulate that effect.

    I've got about a five to one ratio, and the threshold and gain are both set to the default settings, whatever they were when I loaded up the plug-in, which is one of the reasons I like this so much is it just works so quickly.

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    Why Use Multiband Compression?

    9:14

    // A video on why you might decide to use multiband compression on vocals in a mix // To learn more, check out our in-depth workshop on mixing with multiband compression ➥

    Instant access to every in-depth mixing course from Matthew Weiss:



    Transcript:

    Hey guys. Matthew Weiss here — weiss-sound.com, theproaudiofiles.com, and mixing101.co.

    Last video, I showed you how to contour a lead vocal. This video, I'm going to show you why to use multi-band compression, and now, this is not so much a how-to video, it's a why-to, and I think that if we can figure out why we want to be using multi-band compression, the how is actually not so difficult. We can kind of sus it out because we know what we're going for.

    So I'm going to play this vocal, then I'm going to point out why multi-band compression might be a good choice for processing here.

    [vocals]

    I'm going to play it one more time, and what I want you to do is listen to the word “before.” Listen to the low end of the word “never,” and listen to the word “I.”

    [vocals]

    Or I'm sorry, “all.”

    [vocals]

    So, if we really listen, what we hear is a lot of tonal inconsistency. We hear a little bit of extra low end kind of show up in the word never, we hear a lot of mid-range kind of pop through on before, and we hear both low end and mid-range pop through on the word all.

    [vocals]

    Right? So when we have tonal inconsistency, that's when we might want to think multi-band compression. So here would be the case — basically, if I start eliminating mid-range for the sake of cleaning up the word “before.”

    [vocals]You hear that “woah.”

    [vocals]

    If I start eliminating that mid-range, then in every other spot where there isn't too much mid-range, the vocal is going to sound thin. And that's the same thing with the low end, there's occasional bumps in the low end where we might just want to trim it up from time to time, but if we do it throughout the course of the entire vocal, it's just going to thin it out too much.

    And we're going to get that sense of disproportion still, and even with that gotten out of the way, it still might not sound that good, because we're hearing this constant change of tone.

    So this is where multi-band compression would come in. So I'm going to bring in my multi-band compressor and let's give it a listen.

    [vocals with multi-band]

    Now, we can hear that tonally, it's a lot more consistent. Now, can we hear the compression going? Yeah, I'm using some pretty assertive settings that I'll break down in a second real quick, but also keep in mind we're in solo mode.

    Here's the before and after with the rest of the track going.

    [mix]

    The world “all” still, you kind of hear a bit of the squeeze on the word “all,” so maybe I would want to adjust that by like, going in here and maybe just manually turning the level down a little so it's pushing the compressor a little less.

    [mix]

    Let's meet in the middle.

    [mix]

    But ultimately, it's not really quite as noticeable once we start bringing in other elements. What is noticeable is that the vocal seems to stay in the same place consistently.

    Now, I'd also like to point out that the settings that I've used would not be appropriate for this record, which is supposed to sound more open and natural, but if this were say some sort of a Dance/Pop kind of tune, I don't think that the settings that I'm using are overly aggressive at all.

    So it looks a little insane, but basically what's happening is I'm just evening out the spectrum. There are places where the mid-range right around 1.1 kHz really jump. There's just an overall feeling that the upper mid-range is sometimes deficient, but at times, overwhelming, and the same thing with the top end too.

    So I'll play it and you can kind of watch the meters to get an idea of what's really going on.

    [mix]

    And with vocals, these key spots are actually common spots that you might want to listen for in the way that I've done it actually.

    In the dead center midrange, that 400-600Hz range, that's where a lot of room tone and a lot of microphone proximity type of harmonic stuff can kind of happen that often times needs cleaning, but it's also the body and strength of the voice, particularly a female voice.

    So we don't want to kill that tone if we can preserve some of it. Sometimes, I would even prefer multiband over any straight EQ at all, but sometimes, it's a combination of both.

    This dead center mid-range is a spot where vocalists can tend to get spikes. Spikes of harshness that just jump through, and what happens is when the 1kHz band, that region spikes, the vocal disconnects from the record. It feels like it steps out of the music for a moment, and that can actually really affect the way that we sort of subconsciously ingest the song.

    [truncated]

  • desc

    Compression with Robert Keeley

    33:59

    We got to spend some quality time with Robert Keeley at Guitcon in Markneukirchen, Germany. Robert is well known for his amazing compressor pedals. Here, he breaks it all down and explains exactly what's happening when you crank on the Keeley Compressor Pro and the Compression stage of the Tone Workstation.

    more at

    and follow us online:









  • desc

    How to Use Parallel Compression on Drums in a Mix

    6:19

    // A video on the basic concept of using parallel compression on drums in a mix.

    4 Parallel Processing Techniques for Drums in a Mix:

    ——

    Parallel compression is by no stretch a new thing. But in case it’s a new term: the idea is your parallel track goes face first into a compressor and gets shmooshed to gravy, and then blended up into the uncompressed track.

    Primarily, this enhances the sustain of the drums without really altering the attack — a technique which is tried and true for both close mics like snare and kick, and also for the whole of the kit.

    The added bonus is that if you time the release right, you can create a little push-pull motion for the drums and enhance the sense of groove while you’re at it. And you get some of the character of the compressor as well!

  • desc

    The Reverb Trick All The Pros Use...

    5:56

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  • desc

    Master Sidechain compression in 15 minutes

    15:18

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    In this video, Echo Sound Works will show you everything you need to know about sidechain compression and how it can help your mixes both sonically and creatively.

    Like, favourite and subscribe to support ADSR.

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  • desc

    8 Vocal Compression Secrets for Every Mix

    14:39

    8 Vocal Compression Secrets for every mix by Reid Stefan Realest Puppet in The Game. This vocal mixing ableton 10 tutorial covers the basics of compression attack release ratio knee peak rms expand and lookahead. Parallel compression, glue compression, limiting and clipping are all possible with the Ableton stock compressor and this tutorial demonstrates how to use these plugins to create a basic vocal chain. This tutorial also explains how to do De-essing in ableton as well and process groups of vocals.

    Get Whole Loops Lead Vocal Sauce


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