| Author
|
Group Channel Compressor
|
Predator-X
Started Topics :
1
Posts :
2
Posted : May 27, 2005 18:58
|
I noticed that people here pay a lot of
attention to the compression of a single sound in a mix, instead of applying compression for multiple sounds at once.
I am refering to Kick and Bass sounds.
While using a regular single compression for
both of those sounds,try to apply another
compressor over both sounds and find the settings,that you think work the best for you.
This method gives your track a very important vibrance and forces your Kick
and Bass to sound more distinctively.
Any particular settings you would like to share???
|
|
|
Trip-
IsraTrance Team
Started Topics :
101
Posts :
3239
Posted : May 29, 2005 12:48
|
I don't like this approach. It can ruin the dynamics of the bass very easily, when a kick is added to the input signal together with the bass.
There is a big time space between every kick, while the bassline enters in between them - nor the attack or the relase are that long - and shouldn't be.
Also the kick stops or bassline stops every now and then - something that should be taken as single channels.
A kick will never have the same amplitude level as a single bass note. Or at least I hope it won't and it's never my intension.
Why would you apply a compressor on both? I can't understand.
 Crackling universes dive into their own neverending crackle...
AgalactiA |
|
|
|
thail
IsraTrance Junior Member
Started Topics :
20
Posts :
148
Posted : May 29, 2005 12:50
|
|
People says it makes 'em fit better together. |
|
|
|
ZilDoggo
Started Topics :
4
Posts :
663
Posted : May 29, 2005 16:59
|
i think this technique can help controlling stuff.,
i sometimes use compression on different grouping levels at the same time (ie. single channel, buss and master)
i just make sure i dont set the ratio's too high (usually between 1 and 2)
if used correctly this can 'glue' stuff together dynamics wise.,
this means that you dont need to apply heavy compression/whatever at the end of the chain .
this usually also means that busses are driven slightly different, with gentle compression already in the sound before it is sent to a buss.,
btw. i'm not talking about 'creative' compression.
this is ment for CONTROLLING dynamics, not messing them up 
if you want to mess around you should do that on a separate chain at the pre-main-output level as otherwise it will propably disturb the compresison network.
mind you, if you work a lot with sample libraries chances are that the material is already compressed to death.,
in other words you may not need to compress those sounds at all.,
always use your ears before using compression.,
with kick & bass i usually use side chaining., this seems to work great since both sounds play in the same frequencies and have a tendency to mess each other up.,
sidechaining bass&kick actually mimics part of our hearing., inverse psychoacoustics!
about settings,
i usually listen and then think .,
it seems that for every situation i need different settings so it's difficult to come up with absolute figures.,
my advice is: get to know how a compressor works and then think about how you want it to change your music.,
anyways,
greets.,
aka., |
|
|
|
orik
IsraTrance Junior Member
Started Topics :
45
Posts :
317
Posted : May 29, 2005 18:30
|
Quote:
|
On 2005-05-29 16:59, ZilDoggo wrote:
with kick & bass i usually use side chaining., this seems to work great since both sounds play in the same frequencies and have a tendency to mess each other up.,
sidechaining bass&kick actually mimics part of our hearing., inverse psychoacoustics!
|
|
hi,
can you explain how does it mimic, and what
do you mean exactly? -or can you give me your
sources?...
and...
another way to do so, is compressing the bass
and kick together through a buss,
leave another three channels for original kick and bass side chaned,
and add the compressed signal slightly...
this worked with a few kick and basses
realy good, and still sounded tight,
with no phasing. |
|
|
|
ZilDoggo
Started Topics :
4
Posts :
663
Posted : May 30, 2005 13:00
|
hi orik,
well, you can look at any site that describes psychoacoustical effects.
honestly, i'm not going to look for you there are so many of them.
what is interesting for compression is the Masking Effect.
let me explain it a bit.
masking is when there are more than one sound playing.
if these sounds are close in frequency or time but one is louder than the other you will hear only the loudest one.
it's even so strange that you dont conciously hear softer sounds that came BEFORE the loud sound.
you 'magically' forget the softer sound because there is a more 'important' sound comming right after it.,
connection to side chain compression,
well, sidedchaining looks a lot like this process.
you make one sound more 'important' than the other by saing that the compressed sound should play softer when the 'important' sound plays.
so it sortof looks like it.,
i just think i should not have called it INVERSE psychoacoustics.
i thought of that because you force the sound in a certaiun way instead of letting your ears/brain decide what is more important.
in other words, you are forcing the sound away from what your ears should have heared., hence inverse..,
and something else, sidechaining kick and bass (they dont usually sound at the same time) is maybe more like the tightening of the ear-drums after a loud sound than psychoacoustics.,.,. should i call this physioacoustics??.,
nuff said.,
greets.,
aka.,
|
|
|
|
orik
IsraTrance Junior Member
Started Topics :
45
Posts :
317
Posted : May 31, 2005 21:19
|
Quote:
|
On 2005-05-30 13:00, ZilDoggo wrote:
hi orik,
it's even so strange that you dont conciously hear softer sounds that came BEFORE the loud sound.
you 'magically' forget the softer sound because there is a more 'important' sound comming right after it.,
|
|
hey zildogo!
nice explanation, now i see what you meant,
just one small speciefic correction,
the masking of a sound wich came before another sound, actualy applyes as i understand, only to ,TRANSIENTS ,in the differense of a few milliseconds (i think in the has effect range). |
|
|
|
|
