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NY compression style
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sy000321
IsraTrance Junior Member
Started Topics :
46
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1142
Posted : Jul 7, 2006 02:29
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i've just read a post in another forum about the NY compression style
the ideia is to use a bus/aux to compress the drums and have them behind the uncompressed sound...
the poster says the settings he uses wich may be misleading but might be usefull for someone here
here it goes:
1: Create a Group Channel Track (Cubase) or Bus (Logic) called 'Drums'
2: Route the output of all drum sounds to this 'Drums' Fader instead of the master
3: Create an additional GCT/BUS and call it 'NYC' or 'Fatness' and bring the fader right down so it cant be heard.
4: Send from the 'Drums' GCT/BUS into 'NYC' 100% (fx send on cubase/aux send on Logic)
5: Now on the 'NYC' GCT/BUS add the following Inserts with settings as stated:
i1) Compressor: Peak Mode, Ratio about 8:1, Attack 5ms, Release 150ms or Auto, Threshold set so that about -10dB gain reduction.
i2) EQ: Low Shelf boost of +6dB @ 100 Hz, High Shelf Boost +6dB @ 10kHz
link: http://studio-central.com/phpbb/viewtopic.php?t=35884&highlight=
this kind of topics are very controversial and can be very missleading... but..use this knowledge wisely and i'm sure great stuff might come out 
  roll a joint or STFU :) |
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Dark-Force
Dark Force
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14
Posts :
107
Posted : Jul 7, 2006 02:44
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C, i dont get this "NYC" style...if u want more punch , Make longer Attack on the comp.!, if it stands out to much - less attack.
Same with threshold , too compressed? lower the threshold.
this looks like another "preset" method that needs much tweaking to sound good, no need for it if u properly understand compression.
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Dark_Dork
IsraTrance Junior Member
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26
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1266
Posted : Jul 7, 2006 04:46
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Here in West Ramat Yishay we do it WRY style, just kick the shit out of everything and hope to raise dust
Dressed to kill you look so right... I am drunk with lust tonite. |
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assaf_zo
IsraTrance Junior Member
Started Topics :
46
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141
Posted : Jul 7, 2006 10:58
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YALLA YALLA W.R.Y ALEK !!!!
Plus Thanx For The Tip Sy |
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WAVELOGIX
Wavelogix
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136
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1214
Posted : Jul 7, 2006 11:17
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Lol .......... WRY style .... haha ! |
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piko_bianko
Oxya
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57
Posts :
974
Posted : Jul 7, 2006 13:13
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i think it's usually proper to put the eq first, before the comp.
or is it that u put another final comp in the end ?
extreme |
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UnderTow
Started Topics :
9
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1448
Posted : Jul 7, 2006 15:15
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This is called parallel compression. The idea is to have a mix of the clean signal with the compressed signal. What happens is that when the levels are low, the compressor isn't doing much or anything so you get a relatively large contribution from the compressed busto the overall mix. When the levels are high, the compressor is working harder and is lowering the level so it contributes less to the output mix.
The net effect of this is that you are increasing level on the lower parts but not so much on the louder parts. So you are filling in the low end of the amplitude scale rather than compressing the high end of the amplitude scale. This can give a very transparant sound.
To make life easier, you can just use a compressor that has parallel compression built in like the Voxengo Marquis or PSP MasterComp. No need for parallel busses and such.
UnderTow
PS: The EQ in the example of the first post isn't part of this technique. |
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Boobytrip
IsraTrance Junior Member
Started Topics :
39
Posts :
988
Posted : Jul 7, 2006 15:45
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It is a form of parallel compression, but not exactly the kind that is described by Bob Katz in Mastering Audio, because the threshold isn't set to an extremely low value but to a level where the comp applies about 10 dB of gain reduction. So in this particular case, the comp isn't compressing all the time. This technique (with the added low and high end boost) works very well, and can really beef up snares for example.
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sy000321
IsraTrance Junior Member
Started Topics :
46
Posts :
1142
Posted : Jul 7, 2006 23:13
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undertow, thanks for the more detailed info.
i guess the EQ settings are a part of the NY sound... boosted bass kick and hats but i included those here just because they were on the original post
just to clear the subject i've tryed a similar method (i read it in a mixing book, not katz mastering book) and it does give an interesting effect but never really tryed this method.
for me it was inspiration because i always used compressing as an insert, but never tryed those settings...
i'll take a look at Voxengo Marquis and PSP MasterComp too
btw, this method was originally used for mixing "real" drumkits not samples/synths...
about the signal flow... i think that if you talk to many engineers they will say they use whatever they feel the sound needs...
its not uncommon to have eq->comp->eq, comp->eq->comp or eq->comp->eq->comp->eq
if you listen to my stuff you'll understand that i use very little eq or compression
joao
roll a joint or STFU :) |
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snowflake
Started Topics :
9
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194
Posted : Jul 7, 2006 23:18
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When working with Cubase, instead of creating a group channel, you can create an FX channel with a Compressor and an EQ. much easier this way.
>UnderTow: The EQ in the example is very much a part of this technique.
Out Here We're Stoned.... |
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UnderTow
Started Topics :
9
Posts :
1448
Posted : Jul 7, 2006 23:45
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My understanding is that the "New York compression" term comes from the New York mastering houses like Massive and Sterling that eligibly pioneerd this technique. The term has always refered to parallel compression AFAIK. The EQ on the compressed signal is just another variation on the same theme.
The important thing to understand about this technique is that it affects signals with low amplitude more than signals with high amplitude which is the opposit of how a single compressor on an insert works. Once that is understood, you can experiment with different amounts of compression, different attack and release times etc. You could even do multi-band parallel compression or whatever.
UnderTow
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Dark-Force
Dark Force
Started Topics :
14
Posts :
107
Posted : Jul 8, 2006 01:19
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"Posted by : Dark_Dork
Posted on : 2006-07-07 04:46 Here in West Ramat Yishay we do it WRY style, just kick the shit out of everything and hope to raise dust "
wait.....
wait.....
waitt....
ahhhh, now i stopped laughing...WRY style, how funny!
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Kitnam
Mantik
Started Topics :
110
Posts :
1151
Posted : Jul 8, 2006 12:51
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this ny-compression is just one method to apply the concept of paralell processing. there are even more possibilities to create very interesting results with thinking beyond that method, especially at electronic music where there is no rockband who tells you how they want to sound like. |
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shamantrixx
Started Topics :
7
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549
Posted : Jul 8, 2006 15:18
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any kind of sound processed in paralell WILL benefit from it in terms of experssion, dynamics and complexity. As was saying Lao Tseu : "Four Filters Are Strictly Superior To One Filter" Same rule can be applied to layers. More layers you have, more complex sound you'll get. Of course that doesn't have to be that way if you're an idiot with no knowelegde about sound procesing and a slightest idea about what sound you would like to have on the end of that paralell processing.
Compression can dramaticly change the expression of drums if you can HEAR the compression happening. If you still ask arround what attack-release settings should you set on your compressor unit than NY compression and compression layering are not the tehniques for you! Each layer should make small, tiny and subtle variations but when played together they should create a ritch sound with more human than sequencer expression! We could compare it to the colouring on a painting. When you see a painting with solid colouring and shapes you instantly recognize a child's work. Only a child can colour the human lips in solid red. Same principle is with "solid saw lead" and that's the reason why you insert some reverb, chorus and delay. Each of those is an additional layer to the original sound. Compression can also be a very powerfull layering source if you train your ears and spend some time mastering it.
So the trouble in most of this threads is that nobody can explain you when the sound is compressed just enough and when it fits it's uncompressed original. If you're in a hurry to release this years album or to sign a contract with label... stay away from this techniques and look out for more presets. But I suggest that you spend more time tweeking the knobs and LISTENING what is coming out rather than surf the web in a search for "step by step tutorial on how to sound like .... (input your favourite artist name here)"
"It occurred to me by intuition, and music was the driving force behind that intuition. My discovery was the result of musical perception"
Albert Einstein, speaking about his theory of relativity |
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energytick
IsraTrance Junior Member
Started Topics :
11
Posts :
52
Posted : Jul 8, 2006 15:55
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Blah Blah Blah...
I wish some1 (maybe the knowledgeable shamantrixx) will just post a link or smthn to two audio sources: one with NY compression
one with regular
Decent Compression.
instead of all this "machbesat milim" why not move from the theoretical to the practical ?
i know NY compression is a nice name (anything with NY in it actually)...and i'm sure it's recommended in many decent books (from the past millenium), and shamantrix - even if ur teacher recommended it........
it might be out-dated!
so.....instead of writing a thousand words witha thick smell of snobizem coming from them.
let our ears judge!
Lol
btw: "Four Filters Are Strictly Superior To One Filter"
huh??????
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