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Now, before we check out our first
compressor, we want to explain our
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compression works in general, and the
easiest way to do that is using a drum
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loop like we have here.
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And a compressor plugin, the avid Pro
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compressor. It has a graphical interface so it's
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easier to see what it's doing.
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Let's start off with the threshold, as
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most compressors, even classic
compressors, let you adjust the threshold
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decides at what point compression kicks
in.
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Let's raise it as high as possible so no
compression will happen.
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Let's hear the loop.
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Notice it sounds very normal.
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It's not compressing because it's not
reaching our threshold right here.
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Right up here.
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You can see the volume level of the drum
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loop. And it never reaches the threshold.
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Starts to bring the threshold down so
some of the notes of the drum loop go
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above the threshold.
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Let me switch the meter over here so you
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can see the attenuation over here.
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As well as over here.
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So right now it's compressing about 6 DB.
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That's how much gain is being reduced.
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Our sound level is over here.
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And as it goes above the threshold, it
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kicks in the game reduction or
compression.
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Now the ratio, which is another setting
we could sometimes adjust, is set to
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three to one.
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If we set it to one to 1:00.
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No compression is going to take place.
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Regardless when the threshold is because
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once the sound gets above that threshold,
the change is 1 to one, so it's not
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changing. If we change it to something else like 4
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to one.
As the sound goes above the threshold,
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every four DB of change will only be one
DB different.
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That's the ratio 4 to one.
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So for every four DB it goes above here.
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We're only gonna hear a difference of 1
DB.
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That's why compressors adjust the dynamic
range.
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The sound is less dynamic as the ratio
affects those differences.
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Snouts here.
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So that's a four to one ratio.
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Let's make it higher.
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At about ten to one, instead of being
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called compression, it's called limiting.
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Notice it sounds harder as once it gets
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above the threshold it's compressing even
more.
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So a ten to one ratio for every 10 DB it
gets louder.
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We're only hearing a one TB difference.
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And you can bring up even more.
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And it's like a brick wall.
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It's once it hits a certain point or the
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threshold. It's not going to get any louder.
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It sounds kind of weird because once it
gets to the threshold, it's not going to
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get any louder.
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Whereas with the lower ratio it still
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gets louder, but in proportion or at a
lower ratio.
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And four to one is a pretty good place to
start.
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Now, some of the compressors we're going
to be checking out won't give us the
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option of adjusting the ratio.
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It's a fixed ratio, but that gives that
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compressor it's sound.
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And another thing that gives a compressor
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its sound.
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Is the knee.
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You might hear the words soft knee or
hard knee.
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That's this setting right here.
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If we move it this way to 0 DB notice
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right here.
It's a sharp angle.
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If we move it the other way.
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It gets softer.
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So it's basically happening here.
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It decides how quickly that game
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reduction is happening.
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So with the soft knee, it starts before
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the threshold and slowly gets brought
down by the ratio.
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In this position, it happens very
quickly.
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So it's a little more dramatic.
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So let's see the difference.
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This is a hardening.
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This is a softening.
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Notice how the color of the compressor
changes.
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And once again, with a lot of classic
compressors, we can't really adjust this.
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It's fixed, but it is still set to a
certain number, we just can't change it.
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But it gives that compressor its own
sound.
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Now another part of compression where we
can really tweak how it works is the
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attack and release.
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Now some of the compressors are going to
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check out have these knobs, but some of
them don't.
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And again, for those units it will be
fixed in a certain position, you just
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can't adjust them.
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That's what gives those compressors their
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sound. So let's start with the attack knob does
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is decides how quickly the compression
kicks in.
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For instance, let's make it really slow.
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One second.
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Notice it doesn't sound very different
because what's happening is the
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compressor is very slow to react.
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It's going to react to sound going above
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the threshold.
For a whole second.
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Which for drums isn't really going to do
much.
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It's not going to compress at all, but if
we make it very fast, it's going to react
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very quickly to the transients.
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It cuts down the transients almost
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completely, because this is a very fast
setting.
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Let's slowly bring it up and you can hear
the transients come back in.
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So you could shape the sound of the drums
just by adjusting the attack, and if we
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make it any quicker it's going to cut it
down even more.
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Or any slower is going to let the
transient come completely through.
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Since the attack, next we have the
release decides how quickly the
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compression snaps back, so once again we
could check it by setting it as long as
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possible. 10 seconds. Now watch the meters over
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here. They stay there, it's still being reduced
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for 10 full seconds after the threshold
is no longer crossed, so the compression
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is going to sound very smooth as it
doesn't jump up and down as each
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transient goes above and below the
threshold.
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Let's hear it.
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It's very smooth as the compressor is
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very slow to start up again.
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But as you make it shorter, it's going to
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snap back a lot quicker.
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And we're going to hear it react very
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quickly. And you can see it very easily by
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watching the meters.
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But if you want something more dramatic,
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you can make this really quick.
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And this one quick as well.
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And it cuts all the attack and brings up
the room sound.
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So that's the attack and release.
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Which brings U the snob down here, the
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dry or wet mix.
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Again, this is not very common on the
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classic compressors.
This mixes the dry sound with the wet
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sound. Most classic compressors are completely
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wet. So we hear compression and nothing else.
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But if we want to bring some dry sound
back in.
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We could adjust this knob to have a
little bit of the uncompressed sound
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mixed in with the compressed sound, fully
compressed ohf.
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It's just a way of lessening the effect.
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But again, most of the classic
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compressors don't really have this sound,
so to achieve it you have to use parallel
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compression and then finally.
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We have the makeup gain which makes up
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for the gain reduction that the
compressor is adding.
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So right now.
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Bypass is louder than the compressor
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being turned on.
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So we can match that using the makeup
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gain. Making it easy to compare the before and
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after. So that's the basics of how a compressor
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works. Obviously it's gonna sound different on
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every sound source.
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But it's easy to hear all these controls
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using a drum loop.
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And once again, most of these controls
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are not going to be on classic
compressors.
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But those variables still exist, they
just fixed at certain points on those
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compressors, which again gives them the
unique sound.
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So let's get started with our first
compressor.
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