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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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  • 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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  • 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

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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.

  • 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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  • 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.

  • 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!!








  • 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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  • 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!

  • 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.

    Song: John Gee - Hit the Number

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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.

    How to hear EQ:

    30% off SoundGym Pro Membership:


  • 5 compression mistakes to avoid


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    In this video, Echo Sound Works discusses 5 mistakes to avoid when using compression in the mix.

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  • FOH Mixing: Live Tips and Tricks by Ozzy’s Mix Engineer


    How does FOH Greg Price get his mixes to really rock? Get a glimpse of his stacked vocal effects and his coined good cop, bad cop parallel drum compression using Waves plugins and the Avid S6L console. Get more WavesLive:

    In this video:

    0:21 Building Ozzy's vocal chain

    1:26 Ozzy's vocal effects pyramid

    2:26 Parallel compression: Good Cop, Bad Cop

    4:57 Why use Waves SoundGrid?

    5:41 Waves plugins integrated with the Avid S6L console

    6:08 Waves vintage modeling: An old-school engineer's dream

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


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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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  • 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

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


    Download the Logic Pro X multi-track session used in this video!

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  • EQ Before or After Compression? Plus: Multi-band Compression Principles SSP042


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    Justin Colletti answers a common question: Is it better to put your EQ before or after your compressor? Then, he dives into some tips and principles for using EQ sidechains and multiband compressors.

    Thanks to Focusrite, Soundtoys and Eventide for sponsoring this podcast.

    For much, much more on using compression, try Justin's full length courses:

  • 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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  • Mixing with Compression Tutorial


    — 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.


    Hey folks. Matthew Weiss,, 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.

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


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

  • 8 Vocal Compression Secrets for Every Mix


    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

    DM me on instagram with any questions

    Ableton Stock Plugin Tutorials
    Audio Effect Rack:
    Auto Filter:
    Beat Repeat:
    Drum Buss:
    Dynamic Tube:
    EQ Eight & EQ Three:
    External Audio Effect:
    Frequency Shifter:
    Glue Compressor:
    Vinyl Distortion:

  • How to master: Multiband Compression


    Multiband compression is an extremely versatile mastering tool. It splits the incoming signal into separate (user selectable) frequency bands and allows you to compress each band independently.

    This allows you to apply more compression to the bands that you feel need it without affecting the mix sonically.

    In this screencast, I’ll cover multiband processing using Logic Pro's stock plugin, Multipressor. We will use the plug-in to fix some areas in our track. We will enhance our low end and tighten up our high end.

    Thanks for watching! leave your questions in the comments and don't forget to like and fav this vid if you... liked it :)






  • The Reverb Trick All The Pros Use...


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  • Using Analog Hardware with Logic Pro X - I/O Plugin


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  • Anatomy of a Mix: Buss Compression Excerpt


    // An excerpt from the new Anatomy of a Mix course from Bob Horn and Warren Huart.

    In this video, Warren Huart shows you how he used SSL buss compression.


    Last, but no means least, is our buss compression.

    Now, there's quite a lot going on. This is the loudest part of the song. So I've got between...


    It's dancing between 2-3. There's minimal, 2 dBs of compression. 3, 3.5 maybe. It's never quite hitting 4.

    A couple of things to notice. Yes, the threshold is up because the source is really super hot. The gain make-up is back up to make the difference. Go and look over there at our VU meters.

    They are slammed. And you might ask, “Why are they slamming?”Well there's also something about an SSL when you — here we are, in the densest part of the song. The loudest part, the most aggressive part. There's something about the SSL when you hit it hard that does a little bit of natural limiting.

    I love Neve consoles. I love API consoles. But Neves, I have to be careful with. As soon as I get too hot over naught dB, I'm up at like, +3, here we are slamming it at +3 and above. On a Neve, I hear that crunchiness, so I have to mix within it.

    Having said that, a Neve has a beautiful, open sound, so it's fine. APIs are a little more forgiving, but the thing I like about SSLs is I can smash my Left and Right master buss pretty heavily and it adds to the sound of the mix. It's like natural limiting. We aren't doing any additional limiting on this at all.
    However, what we are doing is this.

    [video of Pultec EQs]

    So, when you're setting up your master buss in your mix, don't be afraid to compress and EQ. Here you see, I've got 60 selected, and I'm doing a boost of 2. That's not dB, it's probably — I believe we're probably around about a dB maximum. Maybe 0.7. I'd have to look it up, but not a huge amount of boost, but it is boosting on the mix.

    Here's off.

    [mix before and after EQ]

    And here's on. There's also 12kHz. Again, two steps up and it's set pretty broad.

    So what we have is some 60 and some 12 over the whole mix. So don't be afraid to do buss compression, and don't be afraid to do EQ on your mixes. If you're mixing in the box and you want to do a little compression and a little EQ, it's fine.

    I'm also getting natural limiting from my SSL, so if you need to limit, you can do that as well.

    If you look at Bob's way of working, he has multiple busses going into one master buss.

    Back to the buss compression, I've got the auto setting on the release. When I first started working on SSLs, I didn't like the buss compressor. I couldn't figure out why everybody raved about the SSL buss compressor.

    Then I asked a couple of different guys, especially guys like Joe Zook who are mixed in a hybrid fashion who use SSL buss compressors, and I was like, “Why do you like the SSL buss compressor?”He's like, “Oh, I love the way it sounds. It's got that spank, it sounds great.”Here it is off.

    [mix, no SSL compressor]

    Here's on.

    [mix with SSL on]

    It's got a little spank to it. I couldn't ever get the release time to be right. I tried fast, slow, whatever. And then he's like, “Put it on auto and listen again.”I put it on auto and listened again. Most of the time, I leave it on the auto setting. It's smarter than me, and it is really adding to the sound. I'm not saying you should do that every time. Different tempos of songs, you might actually find a release time that works perfectly with the tempo of the song.

    But, the auto setting is really the difference between it sounding like an SSL buss compressor or not for me.

    It's interesting, but I use it in auto. For the attack time, I've got it all the way up to 30 there. Full right, and then of course, the ratio is at 4:1, so it's not the most aggressive. It's definitely compressing 4 to 1, so you know, it needs four dB over to let one dB through.

    I could get more aggressive on it, but that's pretty typical for me.

    So thank you ever so much for watching. This is a song I had a lot of fun recording, and a lot of fun writing, and a lot of fun playing on, as you can tell.

  • Bass Compression with Robert Keeley


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


    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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  • 3 Vocal Reverb Tips - Warren Huart: Produce Like A Pro


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    I've put together a Cheatsheet of a few vocal reverb tricks that I use.
    Try some out for yourself, have a blast, and let me know what ideas you have and share some really good tips and tricks!

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


    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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    Videos on this channel are the light entertaining addition to the unique audio production, music production and mxing course from the top ranked recording engineer/mixer/music producer Andrew Zeleno. Unique because we work on sound and compare it with the best professional song in the world made by somebody from the top 20 audio engineers. We make our projects sounding on the same level of quality in real time. Plus the teacher doesn't shoot videos like others but takes responsibility to make you a professional and lead you from beginning to the end working with you during 9 months. it's not only theory but there are home works and online checking results with demonstrating how it should be done. For getting the most advanced skills and taking a place in the music industry, check this course. It's the only one music production school online which makes you a true professional with competitive skills/products after 9 months even if you are a beginner. Because you really see your results in comparison with the best products from the best professionals. Nobody compare because a teacher has to have ability to make the sound on the same level. Mixing, mastering, recording, sound design, editing, post production, philosophy, instruments, ears trainings, music theory, professional approach, different genres. The techer is the top ranked audio engineer/music producer with more than 10 years in the industry who worked also with SSL and working with Waves on a new plugin right now. The teacher is so believe in this course that he desn't take any payment in advance. It gives you an opportunity to attend a couple of Skype lessons to make sure that this course is for you.

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  • Why Use Multiband Compression?


    // 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:


    Hey guys. Matthew Weiss here —,, and

    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.


    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.”


    Or I'm sorry, “all.”


    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.


    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.”


    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.


    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.


    Let's meet in the middle.


    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.


    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.


  • Mixing Vocals into the Beat using M/S EQ and Parallel Compression in Logic Pro X


    In this tutorial I will show you how I process a 2 track stereo instrumental to make room for vocals. We will also cover how I use auxiliary tracks or sends for extra harsh compression to blend into the main vocal track to make the vocals shine and have more presence over the beat. As always thank you for watching and bearing with my voice from being sick. Hope this helps you take your mixes to the next level!

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  • Quick Production Tips #6: Kick Compression


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  • 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 Record Acoustic Guitar: Mic Placement, EQ and Compression


    In this episode, I will show you multiple detailed ways to mic an acoustic guitar. The guitar is a 1957 Gibson Country Western. I will show you what multiple mics sound like and how to stereo mic tan acoustic.

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


    Listen to the mix and learn more about the course here

    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.

  • The BEST Way To Record GUITAR


    I learned the best micing technique from producer Dann Huff in Nashville. Here's how the pro's record guitars in Nashville. In this video I'm using a Royer R-121 and Shure SM57 combined with the new SM-21 Mic clip. Read about it here:





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  • Vocal Mixing Tip – Double-Stacked Compression


    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:

  • Using Multiband Compression on the Master Fader


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

  • Mixing With Compression - Stacking Compressors -


    ►► 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.

  • Top Mixing Engineer Tony Maserati on Multiband Compression for Vocals


    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.

  • How to Enhance a Drum Mix with Buss Compression


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

    Learn to use compression in a mix:

  • 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!

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  • Buss Compression in a Hip-Hop Mix w/ Slate Digital Plugins


    // A video on using stereo buss compression in a Hip-Hop mix with FG-Red & VCC MixBuss plugins from Slate Digital.

  • 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.


  • Mixing 808s Like A Pro


    This lesson is from Module 1 of the new Divine Beat Mixing course, a deep-dive into the art of mixing beats.

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  • 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

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


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

    Trick 1: EQ your reverb: 4:09
    Trick 2: Pan Your reverbs: 6:54
    Trick 3: Trigger your Snare reverb from the sample: 8:54
    Trick 4: Use multiple reverbs on Vocals: 11:19
    Trick 5: Compress your reverb: 15:14

    Learning how to use reverb is essential in mixing. It can add width and distance between you instruments. Reverb can also make your tracks sound like they were recorded in a completely different space. This is particularly helpful if you are recording in a bedroom or small home studio environment and you want your tracks to have that big studio sound! The biggest mistake that you can make with reverb is going overboard and making a washy muddy sound mix where everything is smeared together in reverb.

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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.

  • Mixing Modern Pop Vocals - Warren Huart: Produce Like A Pro


    Download the multitracks of this song for free:
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    In today's video, I'm showing you how to achieve a modern lead vocal sound that stays present throughout the song and cuts through a dense mix. We discuss Compression, EQ, parallel processing and automating multi-effects throughout the song to keep the listeners interest and help the song to build and progress. I hope you enjoy the tutorial!

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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.