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Playlist of How The Pros Use Compression

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


    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 Compression and EQ - How To EQ and Audio Compression for Instruments and Mixes


    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.

    Or just contact me to find details:
    After that you can attend one free trial class with current students to check it out!

    The first part of this video here:

    My other great videos:



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  • A Guitarists Guide to Compression


    In this episode I will explain what compressors do before your guitar amp and after it using plugins in your DAW.








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


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


    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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  • Compressors Explained – Sound Basics with Stella Episode 3


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


    ➡️ ➡️ 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.

  • How to Use Compression | Logic Pro X Compressor Tutorial


    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!

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


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


    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,


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

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


    ➡️➡️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


    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

  • 5 Compression Mistakes We All Make


    ➡️➡️Click here to download the 5 Compression Mistakes We All Make cheat sheet:
    ➡️➡️Click here to learn more about these common compression mistakes:

    Today, I am sharing 5 Compression Mistakes We All Make! From using the wrong attack or release time, to not truly knowing why we are compressing something, these are things we are all guilty of!

    5. Using Too Fast an Attack Time
    This is probably one you have heard before, and I think that is quite valid, because if you use an extremely fast attack time, you are going to mess with your transient, especially with a plugin compressor, which has faster attack times than any piece of hardware could ever do. With plugins, you have look-ahead compressors, which basically annihilate that transient immediately. In most cases, you don’t actually want to do that.

    4. Too Slow of a Release Time
    You want your release time to be fast enough that it gets out of the way of the next transient, but you don’t want it to be so fast that it’s not really working. On the acoustic guitar I have been working on, when I slowed down the release time too much, it wasn’t getting out of the way of the next big transient, and ended up totally annihilating it, which is not something we want to happen!

    3. Compressing For The Sake Of It
    Are you just opening up your compressor and putting on the track because you feel like you should, or because you actually need to? It is so important to listen to your sources and make sure you understand exactly where you actually need a compressor, and where you do not.

    Compressors are not just about controlling volume and dynamics, they are also providing you with different sounds. So before you reach for your compressor ask yourself why you are using it and make sure you have a reason.

    2. Using Presets
    I have experimented with presets and I like them when I am starting to get to know a piece of equipment. However, using a preset does not guarantee you the perfect sound. The person who created that preset, no matter how great they are, has not heard your source, they do not know what you are going to be running through that compressor, or how it was recorded.

    Presets can be great tools to use as a starting place, or to get ideas of things you could do, but ultimately, learning you compressor, understanding how attack and release work, how the threshold works, and how to apply them is going to be a thousand times better than any preset.

    1. Using Compression
    The compressor is a tool that we often reach for in this digital world. However, the compressor is not the be all end all, and there may actually be other tools that will get you even better results. for example, saturation can be a way to round off transients in your snare, and may actually give you a louder, fuller sound than you would have gotten if you had used a compressor to round off the transients instead.

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  • Pro Vocal Compression Tips & Tricks


    In this video, you will learn how to add Pro Vocal Compression. This chapter is part of the Pro Vocal Mixing course via Slate Academy -

    You’ll learn:

    ????️ Series vs. Parallel Compression & why choosing the right one matters
    ????️ The right way to use EQ to get clearer, present vocals
    ????️ How pros use Reverb and Delay to add life and depth to their tracks

    —and so much more.

    You’ll discover how pro’s set vocal levels to make them fit perfectly in the mix. You’ll see how to add movement and excitement to your vocals throughout your entire track. And you’ll learn advanced tips on how to get exciting, present background vocals.

    In less than 45 minutes, you’ll see exactly how to get the same vocal sound used by professional mix engineers to cut hit records. And you’ll hit the ground running with a vocal template that contains 8 readymade vocal chains that cover dozens of styles.

    Get the Vocal Mixing Deep Dive masterclass and the incredible vocal template for your DAW when you get the Slate Digital All Access Pass. It includes $5000 worth of award-winning plugins, the industry’s most game-changing synth, ANA 2, and masterclass courses from the biggest producers and engineers in the industry like Just Blaze, Justice League, and more - starting at just $9.99 per month.

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    #VocalMixing #SlateAcademy #HowToMixVocals

  • Logic Pro X Compressor and Compression Types Explained


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


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  • How To Get KILLER Sounding Mixes!


    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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  • Mix Buss Compression -


    ►► 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!

    More about the song in this video:





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


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


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  • How to Use a Compressor Pedal – Getting the Most out of Your Compressor Pedal


    More videos like How to Use a Compressor Pedal – Getting the Most out of Your Compressor Pedal ????
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    Join Don Carr as he dives into one of the most misunderstood tools for guitarists — compressor pedals! Learn what the compressor controls do, different ways to set up your compressor, and much more.

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  • How to Use Compression for Tone and Color in a Mix


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

    Learn more from Ian Vargo in his debut course ➥

    More compression videos from Ian Vargo:

    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.


    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.


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


    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

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


    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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    Want more mastering tips? Check out our blog:

    #AreYouListening #iZotope #Compression

  • Mastering Your Compressor: Attack & Release Settings |


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

    In this video, join Justin Colletti of 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

  • Secret Digital Mixing Trick for Analog Sound - Parallel Compression


    ➡️➡️Click here to learn more about parallel compression:

    Today, we are going to focus on parallel compression! Parallel compression is quite wonderful and is definitely something you will want to use in your mixes!

    Recently, we did a video talking about loudness in mixes, and realized there is a lot of misconception about what a loud mix might be. One of those things is the belief that everything happens on the master bus. Even the use of multi-band compressors and other things like that inside the mix is only part of the story.

    Back in the days of only analog recording, there were so many things along the way that got you those big fat tones. First, if you had a big budget, you would be in an expensive studio using a tube microphone, which was adding all kinds of lovely harmonics, saturation, distortion, and more. Then it was going through a mic pre that added a little extra grit, and then it was being compressed. That is what allowed you to end up with this amazing, big, fat analog sound.

    Now, with digital, everything is “perfect”. And with that perfect signal, you get all of these exaggerated transients, and you lose that energy that was brought by everything going through tubes and transformers, and lots of compression.

    This is where parallel compression comes in! There are all kinds of plugins that can help to replicate that analog sound, but one of the easiest ways to do it is through parallel compression. By using parallel, you can start adding more transients, and really add excitement. There are so many things you can do with parallel compression, and it will help you mix feel so much bigger!

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


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

  • Why I Rely on Parallel Compression More Than Regular Compression


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    Are your mixes sounding weak & inconsistent? Parallel Compression can level up your Logic Pro tracks in seconds. Follow these tips to give your tracks a boost.

  • Listening to Compression | iZotope Pro Audio Essentials


    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!

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


    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:

  • Limiting vs Compression in Mixing Explained


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


    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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  • Master Bus Compression: Hardware vs. Plugins


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    ➡️➡️Learn more about Master Bus Compression here:

    Today, we are going to talk about Master Bus Compression. Many of you know about the magic SSL Bus Compressor, because it is probably one of the most copied bus compressors on the planet. From around the 1970’s until about the mid-2000’s, this was the console was used to mix nearly every record, and its recognizable sound can be heard on many, many great records.

    Now, I do have an SSL console with an SSL 4000 Bus Compressor. What we are going to do today, is we are going to talk about how you use the compressor on a console, some of the most familiar settings, and then we are going to look at some of the plugins that are out there. We will get a feel for these plugins, see how they compare to the console and to each other, and just generally learn how mixers use master bus compression.

    Below are the four different master bus compressors we will be testing out and comparing today:

    Waves SSL G-Master Bus Compressor
    This plugin is based on the renowned master bus center compressor of the SSL 4000 G console, and works to capture the unique sound of the original hardware. The original compressor is prized by engineers for its ability to “glue together” tracks, and now you can access all that power in the form of a plugin!

    IK Multimedia T-RackS Bus Compressor
    IK Multimedia invented T-RackS in 1999, and since then it has evolved into a very powerful mix and master modular system. T-RackS has tons of versatility and firepower, and gives you everything you need to professional treat and finalize your audio from raw mixes to a finishing product ready for upload or printing.

    Plugin Alliance – Brainworx bx_townhouse Bus Compressor
    The original Townhouse compressor was built in 1978, by the legendary Townhouse Studio engineers, using console components supplied by Solid State Logic (SSL). This plugin recreates that legendary compressor!

    Plugin Alliance Vertigo VSC-2
    The original hardware Vertigo VSC-2 Quad Discrete Compressor built its reputation on the four, custom hand-built discrete “1979” VCAs used in its design. This plugin captures every nuance of the hardware version, and puts it right into your DAW.

    Each of these plugins has their own attributes, their own sounds, and their own strengths. On different mixes, you may reach for a different plugin. What it comes down to is knowing your tools and what they do, so you can always choose the right one for you mix.

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  • Get LOUD Mixes Like A Pro


    Here's a technique that will help you achieve loud mixes, without clipping or distorting your master bus. For best results, don't over-rely on limiting for level but instead as a ceiling to keep extreme peaks in check :)

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  • Pro Tools Tips & Tricks


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








  • How to Use Compression to Shape Reverb and Delay


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

  • The Whats and Whys of Compression | iZotope Pro Audio Essentials


    Compression can enhance a recording. Or ruin it. This video explains how compression can be used to positively impact your recordings with both energy and dynamics.
    Think you're a studio master? Find out! Take the free iZotope Pro Audio Essentials challenge!

  • Compression Explained In 3 Minutes


    What is compression in music? This video will explain what audio compression is and why we use it. Today, compression is used on just about everything in a mix. Compression is one of the most important mixing tools available, but it can be difficult to understand what it actually is, especially if you're a beginner. This video will explain to you what a compressor actually does, and why. This will make it easier for you to understand when to use compression in your own mixes. Or perhaps you are not a music producer, but just curious about what compression really is? Regardless, this video will explain it to you.

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  • What is Compression? – The Basics of Compression Explained


    More videos like What is Compression? – The Basics of Compression Explained ????
    Shop hardware compressors at Sweetwater ????
    Shop compressor plug-ins at Sweetwater ????
    Learn more about setting up a compressor in this Sweetwater article ????
    If you're wondering what video gear we use, check it out ????

    Sweetwater's Jacob Dupre introduces you to one of the most important mixing techniques — setting up a compressor. Compression is one of the most important tools engineers have to shape individual tracks into full mixes, and it can be considerably confusing when you're just getting started — unless you have Jacob to help you out!

    After you watch, check out today for all your music instrument and pro audio needs! ????


  • How to Use Compression to Enhance Attack


    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.


    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.


    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.


    Bring it back in.


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


  • Parallel Drum Compression Using Pro Tools Plugins | Crush Bus


    (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.

    Follow pureMix for exclusive excerpts and latest news ????️


    #drums #paralleldrumcompression #drumscrushbus

  • Compression Pro Tip - Compressing in Stages


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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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  • What is compression? When to use compression?


    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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    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

  • Compression Ear Training Masterclass in 12 Minutes


    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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  • Logic Tips - Understanding compression


    In this video, MusicTech's Logic expert Jono Buchanan shows you how to harness the power of the Compressor plug-in.

    Subscribe to MusicTech's YouTube channel for tips, technique, new gear and more!

    For more Logic Tips videos, check out the full Playlist:

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  • In-the-Box Mixing: Parallel Drum Compression - Warren Huart: Produce Like A Pro


    Warren explains some tricks he uses on drums when mixing entirely in the box.

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

  • How To Compress - Logic Pro X Tutorial


    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

  • How to Set Up Mix Buss Compression


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    David Glenn demonstrates how to set up mix buss compression to taste, while also showing off his new favorite buss compressor plugin by Vertigo Sound in partnership with Brainworx: The VSC-2 from Plugin Alliance.

  • How To Mix Orchestral Music - Compression Basics & When To Use It


    ⏫ PRIVATE LESSONS: Coming soon...
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    (For each module, the libraries are sorted based on how much I like them).
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    - CHOIR: Oceania, Metropolis Ark 1, Stormchoir 2
    - WOODWINDS: CineWinds CORE, Nucleus, Metropolis Ark 1 & 3
    - HYBRID PERCS & LOOPS: Damage, PercX, Decimator Drums, Cerberus
    - BIG CINEMATIC PERCS: Los Angeles Modern Percussion, New Epic Toms Ensemble, New Epic Dhol Ensemble, CinePerc
    - ORCHESTRAL PERCS: CinePerc, Rhapsody Orchestral Percussion, Kontakt Factory Library
    - PIANO: The Giant, Woodchester Piano, Spitfire LABS Soft Piano
    - HARPS & OTHERS: CineHarp, Kontakt Factory Library
    - SYNTHS: Juggernaut, Serum, Harmor, Jaeger, Evolution Atlantica,
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  • Compression 101 | How to Use a Compressor: Basic Controls


    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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