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Compression and synth tips
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fuzzikitten
Annunaki
Started Topics :
40
Posts :
603
Posted : Aug 5, 2004 16:43
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Note: this post cross-posted on Dreamweavers listserve.
Hello all!
Well, last night saw me staying up far too late for my own good, getting an eerie joy out of fiddling with compressors and then synths. But I learned a great trick that I thought I'd share for anyone who might take interest, both for my sake (explaining something tends to help me 'grok' it better) and in the hopes that I can give someone a tip towards something that has taken me YEARS to unravel (but then I'm slow). I have yet to articulate this, and I'm still excited about it so pardon me if (when) I become wordy - I'm using this email as a way to burn off nervous energy (and the Red Bull I just drank).
First, I should share an approach towards compression that I learned from the Mixing Engineer's Handbook. One of the interviews in it states an approach one engineer takes towards using a compressor. Keep in mind that this IS for pop music, and so it's not the only way, but it finally helped me get a grip on how to use a compressor (instead of the other way around).
The approach given in the interview is to first set the Threshold to 0, the Ratio to around 8:1, the Attack to 0, and the Release to max. First, lower the Threshold until the sound starts to become squashed, finding the Threshold we want the compressor to engage at. Then back off the Release until the compressor releases at a time that accentuates the groove - you should audibly hear the sound coming back up in volume as the compressor releases. Then set the Attack to get some of the bite of the sound back (and also reinforce the groove we want). Then cut back on the Ratio so that the sound isn't totally squashed, bringing it to a level that sounds good. Lastly tweak the Threshold again to massage where the compressor is coming in.
The effect of this is that a normally 'flat' sound tends to sound like it's pumping in and out of the mix, giving it more life.
Now, this is a cheap trick with compressors, and I can see myself TOTALLY overdoing it in a mix - so I try to keep it to a minimum.
BUT, the technique doesn't have to be limited to compressors! And that's what I found last night.
On a whim I took my synth that was playing a little 1/16 riff, and set the attack to 0 and the release to max. Then I lowered the release until the synth started to 'swing', and upped the attack to further accentuate this. Lo and behold my boring little synth line suddenly jumped to life to match the groove! I did the same with the Filter cutoff envelope - shazam, suddenly my synth started squeaking and squawking just a little bit more! Everywhere there was an Attack and Release I found I could more or less do this, helping to 'tune' the synth to swing with the groove.
And that's about it, 7 hours of enjoyment out of Attack and Release settings - who knew???
peace and happy tweaking,
-Alex |
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PsYmAnTiCs=]
Started Topics :
8
Posts :
88
Posted : Aug 6, 2004 02:31
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Nice post dude 
Let me evolve the idea (or take it off on a tangent!).
Why not route the attack or release to a lfo, sync that to 16D (or whatever, but the "D" timings groove real nice) then tweak the minimum / maximum values.
Now set up a controller to control the lfo speed/rate. Squeeak, squeal etc! Maybe use the filter env routed to the lfo instead of the attack or release!
In case nobody noticed, I really like lfo's |
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fuzzikitten
Annunaki
Started Topics :
40
Posts :
603
Posted : Aug 6, 2004 05:11
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you know, I wasn't able to actually do what you mentioned (don't have a synth that will let me route the A & R to an LFO) - but it should me how to take an LFO and modulate the right parts to get some interesting sounds. In 20 minutes I came up with more interesting effects than I have in all my tweaking.
Thanks for the tangent!  I think the whole synth-programming thing is starting to gel.
-Alex |
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Triptocoma
Inactive User
Started Topics :
5
Posts :
296
Posted : Aug 6, 2004 14:15
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fuzzikitten, nice post...
it gives some insight of what knob twisting can do for you if your mind is on alert, finding patterns and stuff... everything hangs together in someway.... i think you are on to something 
its all about unifie the elements in someway... connect them...
keep it up and nice that you share your discoverys
laters
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fuzzikitten
Annunaki
Started Topics :
40
Posts :
603
Posted : Aug 6, 2004 15:29
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Thanks!
If it weren't for the tips/advice of others I would have given up long ago in frustration, so as I finally start to unravel these things I'll be sure to keep mentioning them here.
And hey, maybe someone like Psymantics will return the favor and suggest a tangent that sends me off on finding new synth wonders.
But where are the heavy hitters on this list? Colin000D, Amygdala - I KNOW you guys could wipe the floor with me in regards to synth programming. Here's a chance to show off your mad skills!
Peace,
-Alex |
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PsYmAnTiCs=]
Started Topics :
8
Posts :
88
Posted : Aug 7, 2004 04:23
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A nice vst-i such as Chameleon 5000 (www.camelaudio.com) or even NI Kontakt will let you route the A&R thru the modulation matrix or controller assignment page to an lfo (also, FM7 can do this, but I've never tried with this vst-i).
I've played around with percussive sounds using this lfo sync'd a&r setting, and you can get some really nice "sucked" sounds. Also, try routing a filter to follow the lfo (select the same lfo as the modulation source for both the filter & A&R), a small value range (but experiment to find the best)can add to the "sucked" effect, curving the tone of the sound as well as the dynamics.
Anyone suffering from the same LFO fetish as me should try Crystal vsti (www.greenoak.com), you get to use 6 lfo's at once!!
And as for sharing, cool, everything except my girlfriend and my socks!
Peace |
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fuzzikitten
Annunaki
Started Topics :
40
Posts :
603
Posted : Aug 9, 2004 14:12
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Force_fed from the Dreamweavers listserve had this approach to compression, which I thought I'd add, verbatim, here:
*******
* attack - anything
* release - minimum
* ratio - max
* threshold - sensitive
if i remember correctly, the idea was you leave all the settings like that and then start fiddling with one of the parameters and depending on what order you did it, you'd end up at different ends. he suggested the order above.
attack - listen to the attack, thanks to the low release setting there will be lots of attacks to listen to. ignore side effects like pumping etc. when you find the right "thickness" to the sound leave it.
release - makes the compressed signal swing. find the setting that gives the signal its "groove", whether it's in time with the music or not doesn't matter as long as it sounds good.
ratio - lower it from max as much as you can without losing the "sound" the attack and release settings have given you. ignore the numbers. ...and don't touch the previous parameters.
threshold - make sure it doesn't compress all the time. a mix of compressed and uncompressed signal gives the sound colour.
i found the guide he gave me really interesting and good to work with but it's not necessarily the only or even the best way to do it. doing it in this sort of way, tweaking one parameter at the time while listening to the sound has made me understand a bit more what a compressor does and can do to a sound. before i used to think compressors sucked because i had few clues  so yeah, it's a great starting point, rather than setting up the "basic" settings for whatever instrument / sound you've got and then tweak it from there. |
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