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Multiband Compression on Basslines
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jizy
IsraTrance Full Member
Started Topics :
90
Posts :
1493
Posted : Feb 2, 2009 00:26:23
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does anyone else use this on there rolling lines? i have found it to be the only thing that helps me control my bass, but i herd its a bad thing to use .. why? does anyone else use multiband compression?
cheers
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jizy
IsraTrance Full Member
Started Topics :
90
Posts :
1493
Posted : Feb 2, 2009 01:30
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hmm yeh while im on the subject OZone 4 iz out now. happy shopping
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Kane
IsraTrance Junior Member
Started Topics :
23
Posts :
1772
Posted : Feb 2, 2009 03:21
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It isn't necessarily a bad thing to do, it's just very easy to ruin your sound with.
I have on occasion, but I usually stick to an EQ and compressor.
 You believe in the users?
Yeah, sure. If I don't have a user, then who wrote me? |
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mind_os
Started Topics :
0
Posts :
11
Posted : Feb 2, 2009 06:43
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can anyone please explain me how compression works? i've read a lot of articles about it and i still dont get it. Like i know it allows for a louder sound but i just don't understand the fundamental principles behind it. thanks |
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Deranger
IsraTrance Junior Member
Started Topics :
36
Posts :
214
Posted : Feb 2, 2009 07:35
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FL's multiband compressor kicks ass!
even if you don't know enough about compression just use your ears with the right gear of course...i don't think it's a bad thing to put on bassline..enjoy |
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Upavas
Upavas
Started Topics :
150
Posts :
3315
Posted : Feb 2, 2009 07:46
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Kitnam
Mantik
Started Topics :
110
Posts :
1151
Posted : Feb 2, 2009 13:07
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Quote:
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On 2009-02-02 06:43, mind_os wrote:
can anyone please explain me how compression works? i've read a lot of articles about it and i still dont get it. Like i know it allows for a louder sound but i just don't understand the fundamental principles behind it. thanks
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first thing you need to understand is that a compressor is not making anything louder but quiter.
second: a sound-waveform is as louder as higher the wave is growing. the compressor works a like limit of maximum allowed height of the wave. if the wave is going above this limit, the compressor reduces the volume until the wave is down to the limit again. this is the general heart-concept of a compressor, everything else like "attack" and "ratio", etc. is not important to understand the concept at first. so a compressor generally makes a sound quiter!
usually sounds and noises have a very high height at the beginning and get quiter when they go. resluting in a waveform with a high peak in the beginning which is getting lower and lower until the wave is completely gone (silence) when you put a compressor on that waveform it usually will reduce the volume of the beginning wave-peaks (call them "transients") but not reducing the rest of the wave, because the rest is below that line the compressor wants to reduce the volume.
the result will be that the transients will have the same volume as the rest of the waveform (because the compressor made them quieter).
so now compare both waves:
the same sound, but one with high transient peaks in the beginning. (waveform A: not compressed) and another one with a more flat waveform because the transient-peaks got reduced (waveform B: compressed).
when you have A on a mixer the high transient waveforms will make it clipping at some level when you raise it up.
when you take B you can pull up the volume-fader a lot higher on the mixer until it starts to clip because the high transients peaks are gone and you can pull the flat wave way more up compared to waveform A.
this is way people say "compressors make your sound louder" which is often misunderstood, because it offers the possibility to make raise the volume-fader until clipping but its not making anything louder. this is even more distracting when a compressor got a "makeup-gain" implemented, which has nothing to do with the central algorythm, because this used before the process or after the process of compression.
to make compressors understandable it might be better to know how waveforms are shaped at first, what volume is, what clipping is and what leveling is. dont know not easy to explain on distance.
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mind_os
Started Topics :
0
Posts :
11
Posted : Feb 3, 2009 00:54
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this is the best explanation i ever seen man, u really made it easy to understand 10x thanks  Do u think that i should apply compression while i'm mixing or after i'm done with mixing and arrangement? |
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Alien Bug
IsraTrance Junior Member
Started Topics :
27
Posts :
682
Posted : Feb 3, 2009 01:02
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Kane
IsraTrance Junior Member
Started Topics :
23
Posts :
1772
Posted : Feb 3, 2009 04:22
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Quote:
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On 2009-02-03 00:54, mind_os wrote:
this is the best explanation i ever seen man, u really made it easy to understand 10x thanks Do u think that i should apply compression while i'm mixing or after i'm done with mixing and arrangement?
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Don't mix with anything on the master. When you're done with the track, bounce the entire mix and process it. Check the mother of all mastering thread for some tips on how to do this.
It's ok to use compressors on individual tracks though. 
You believe in the users?
Yeah, sure. If I don't have a user, then who wrote me? |
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Soundmagus
IsraTrance Full Member
Started Topics :
67
Posts :
633
Posted : Feb 3, 2009 11:04
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Fragletrollet
Fragletrollet
Started Topics :
111
Posts :
1748
Posted : Feb 3, 2009 13:00
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Quote:
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On 2009-02-02 07:46, Upavas wrote:
Compression pulls down the loud parts in a sound, expanding pulls up the quiet parts of a sound.
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I thought this was upward compression, and that expansion does the opposite of compression?
From Gearslutz:
Basic types of compression:
Downward compression: attenuating the signal at a ratio when it rises over a set threshold. (Turning the loud parts down, diminishing dynamic range) [Waves R-Comp with Ratio in ORANGE range]
Upward compression: effectively boosting the signal at a ratio when it drops below threshold (Turning the quiet parts up, diminishing dynamic range) [Procedures vary, as Tom mentioned. Also depending on procedure, the previous explanation (first sentence) isn't correct. The effect is very similar though.]
Downward expansion: attenuating the signal at a ratio when it drops below a set threshold (Turning the quiet parts further down, increasing dynamic range - think of a noise gate that doesn't completely cut the signal below threshold, but turns it down gradually.) [Expander on a Yamaha digital desk, for example]
Upwards expansion: boosting the signal at a ratio when it rises over a set threshold. (Turning the loud parts further up, increasing dynamic range) [Waves R-Comp with ratio in the BLUE range]
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The other terms you mentioned:
Parallel compression: is a way of achieving upward compression by mixing an uncompressed signal with a (downward) compressed signal.
Side chain compression: means the signal that controls the attenuation is not the same as the signal that is being processed. One of many uses is, for example, to high pass filter the side chain signal to reduce the extent to which bass drives the compression.
Bus compression: term usually used when running a compressor on the 2bus (L-R / Stereo-Bus, Mix Bus) during or after mixing. Sometimes it's genius, sometimes it's the ME's worst enemy.
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~d2~
Inactive User
Started Topics :
7
Posts :
751
Posted : Feb 3, 2009 13:05
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What about some good old fader automation? |
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Fragletrollet
Fragletrollet
Started Topics :
111
Posts :
1748
Posted : Feb 3, 2009 14:18
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Nectarios
Martian Arts
Started Topics :
187
Posts :
5292
Posted : Feb 3, 2009 14:20
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