The idea is that you set up your compressor so that it reduces the level of transients while leaving sustained material unaffected. Peak compression can be used to deal with overly present transients. Perhaps your snare track “bites” too hard, or the bass you’re processing has too much “slap.” In both of these situations, an element of your song is refusing to play nicely with the rest of your mix when you turn the troublesome channel’s level up, the transients are too loud, and when you turn it down, the channel’s soft parts are too quiet. The most basic use for a compressor involves taming transient material using downwards compression. When Transients Are Sticking Out of Your Mix If you’re looking for a versatile third-party compressor plugin, I recommend checking out FabFilter’s Pro-C 2 or Waves’ H-Comp Hybrid Compressor. For example, Logic Pro X has a very powerful stock compressor that includes multiple different compression algorithms. The stock compressor that comes with your digital audio workstation (DAW) is probably excellent for general compression purposes. Please take these compressor settings with a heavy grain of salt because each compressor is unique in its design and functionality. I’m going to provide you with 3 scenarios in which it makes sense to use a compressor, along with some recommended compressor settings that you can experiment with. Don’t use one unless you have an identifiable issue that you know compression is going to correct. I want you to think of a compressor as a problem-solving tool.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |