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What's good YouTube? You already know who
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it is man. It's your boy Q aka the Wave
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Man Man Man and we are back with another
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wave monopoly.com tutorial and today
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we're bringing you everything
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compressors. In this video we're going to
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be going over everything that you need to
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know in detail about compressors and by
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the end of this video you will be able to
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compress your vocals
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successfully.(...) Let's get into it.
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The first thing that we're going to do is
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take a listen to this first example.
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Now that you've heard that let's take a
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listen to our second example. So I know
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you heard a difference. Now that
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difference that you heard was
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compression. The first vocal take was a
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completely unprocessed natural vocal
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take. The second vocal was the same audio
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take but instead it was heavily
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compressed.(...) Now what's compression?
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Compression is the process of reducing
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the dynamic range or evening out the
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volume of an audio signal. Dynamics are
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basically the span in between the highest
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loudest part of an audio signal and the
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softest part of an audio signal. Just
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imagine if I was in the room with you
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right now and I started singing to you. I
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just started singing to you live in
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person. It's gonna cost you some but uh
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just imagine it. You're gonna hear me
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sing loud at times and you're gonna hear
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me singing very low and soft at different
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times. Now when you're recording into a
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DAW you're most likely going to be
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recording with an instrumental. So if you
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have your raw unprocessed vocal in there
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with your instrumental you're not going
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to be able to hear those lower parts as
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much as you're going to be able to hear
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those super louder peaks. So what do we
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use to tame these dynamics? We will use a
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compressor. A compressor basically takes
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the loudest peaks and brings them lower
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in volume so we can start getting closer
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to those softer levels. Now it doesn't
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quite work like volume okay. We can't
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just turn it down and turn it up but
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instead we control it. We control it with
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a function called threshold. Now what
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threshold is is basically us telling the
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compressor listen you are gonna start
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engaging this compressor after we reach a
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certain volume level. Now by how much it
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compresses is something else that we
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control which is called the ratio which
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means whenever we go above this threshold
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how much we want to reduce and compress
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this audio signal and whatever's under
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the threshold remains unprocessed. Now
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that we know those two basic functions
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let's get into this example so we can
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further explain those two and the rest of
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those basic functions. Let's get into it.
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So let's go ahead and hear this vocal
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uncompressed once again.(...) As you can
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hear you hear those softer parts and then
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we hear those louder peaks. So what are
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we gonna do guys? We're gonna get a
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compressor. In our case we're gonna be
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working with the R-Comp which is a
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compressor that comes from Waves Audio
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which is a third-party plug-in but the
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reason why we're really using this is
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because it comes with all those basic
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functions and not only that but it sounds
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really good. It has a great tone and
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great character and is used by many of
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the top engineers today. So that's what
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we're gonna be using. As you can see we
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have this dialed in right here. So what
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I'm gonna go ahead and show you guys is
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how these things work together. So what
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we're gonna do is we're gonna bring these
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back to zero and we're gonna start
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dialing this in so you can understand how
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these work together in conjunction. So
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I'm gonna bring you to the mind of
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myself. I know that I'm gonna want to
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compress this vocal moderately alright.
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That's where I want to start and from
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there we can start playing with levels
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and seeing where we really want it to end
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up. So we're gonna do a four to one ratio
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which basically says for every four dBs
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it goes over the threshold we want it to
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allow one to come through which also
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means three dB was reduced during this
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compression. Understood. Now ratios could
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be set in a bunch of different
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variations. For instance you've probably
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heard two to one, four to one, eight to
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one. Now what does this mean? One to one
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is basically unity gain which means
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there's no attenuation at all. Two to one
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is very light compression. It's gonna
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allow more dynamics to come through okay.
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Four to one begins to get more moderately
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compressed. Eight to one we're starting
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to get more heavily compressed. And
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twenty to one we're starting to reach
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those limiting levels alright. Now we got
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that set. The next thing that we're gonna
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do is set our threshold. If your
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threshold is at zero it is going to be
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doing nothing. It's not compressing
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anything. It is not working. So remember
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the threshold says when to engage, when
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to start compressing our
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vocal. Let's get into it.
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(Music)
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As you can hear we're already starting to
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compress that vocal very very well.
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Listen all we did was move the ratio and
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threshold alright. Now what I'm gonna do
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is bring the threshold back up and bring
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it back down and I want you guys to hear
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how this starts to
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engage. Let's get into it.
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(Music)
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Now you're really starting to hear this
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be compressed. Now as this is compressing
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you have to understand that we are
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overall bringing our volume levels down.
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So that's when we're gonna start using
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our makeup gain to compensate for the
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loss of volume level. So we're gonna
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start bringing it up so that we're able
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to start fitting this back into the mix.
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So let's start dialing our makeup gain as
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we listen to our track as a whole.
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(Music) Sounds amazing. We're halfway
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there. Next we have to understand attack
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and release. Attack is basically saying
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listen after we hit this threshold how
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fast do we want this compressor to
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actually work? How fast do we want to
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engage this compressor to hit those
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transients? Now what's transients?
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Transients are basically that beginning
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punch of each of those phrases.
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Those are transients okay. That's what
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we're gonna want to control. That's
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basically what the attack is. Our release
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is saying listen how long do we actually
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want to hold this compression once
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engaged? All right now for you to really
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start to get this concept I'm going to
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over exaggerate both the attack and the
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release and listen to the characteristic
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of the vocal change. Let's listen to it.
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(Music)
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As you've heard when we make the attack
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very slow in this case 500 we start to
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hear a lot of transients which gives us a
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feeling of aggressiveness. Our vocal
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becomes more aggressive punchier more
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just bold. Now when we sped up our attack
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made it the fastest that we could we
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started to feel more smoothness more just
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silky smooth no transients coming
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through. It's and then when
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it was a slow attack (Music)
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it was just much more transients coming
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through with a slower attack and with a
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faster attack very smooth okay. Now
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that's just showing you how this changed
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the characteristics. Let's do the same
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thing with our release.
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Listen to the characteristics.
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(Music)
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(Music) All right when it's a faster
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release we get a more aggressive tone
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because we're releasing that compression
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as soon as it's basically being engaged.
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Now vice versa when it's a very slow
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release we're holding that compression so
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it gives us a smooth vocal. Now the key
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is to work with these in conjunction so
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we can find that sweet spot. So what
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we're going to do right now is dial this
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in and listen for where this feels right.
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We're looking for where it feels right
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not necessarily where it sounds muted and
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soloed out. You want it to feel right
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within your overall track because at the
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end of the day we are not compressing to
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hear an acapella. We are compressing so
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that it can find its space within our
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overall track. So we're going to dial it
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in right now. Let's get into it. We're
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going to start with attack and then go to
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our release and find where it feels
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right. Let's get into it.
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(Music) (Music) (Music) (Music) (Music)
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(Music) (Music) (Music) So basically I
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feel very comfortable where this is at
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right now. Okay we have our attack at
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nine which is a pretty fast attack still
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and we have our release somewhere in the
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middle. Okay the reason why we chose our
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attack to be here is because I like a
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little bit of that trend that that
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transient coming through. It gives it a
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kind of a aggressiveness okay but not too
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aggressive to where it starts to sound
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wild and just abrupt. It just it just has
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just enough to where I feel like yo this
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is what I'm going for. This vocal this
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this the words I'm saying it matches it
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feels right just a tad of aggression and
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our release I like that it's being held a
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little bit longer but not too long to
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where it's too smooth. I like it being
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smooth because this is a melodic vocal so
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that's what I'm going for. So I want it
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to be smooth but not too smooth to where
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it sounds like it's just overly
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compressed all right. Now if you still
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don't understand compression I'm gonna
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break it down for you in a more simpler
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way okay. Compression is basically like
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any authority figure okay whether that's
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your mom your dad grandparents or who
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knows anything any authority figure okay
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and you're listening to music. Your
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threshold is basically the volume that
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the authority figure in our case our
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mother wants us to keep the volume out
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but you know we we young and we want to
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bang our music so we're gonna turn it up.
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Now the ratio is how much we turn down
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the music when she starts to shout at us
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right she starts to yell like okay let's
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turn on the music back here all right now
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the attack is how fast we turn it down
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right so she might be saying the way man
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turn that music and then I turn it down
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right so that's like a let's say a medium
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let's say that's a medium attack now
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she's like what faster attack okay the
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way man I told you I told you turn that
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music down and then I start to turn it
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down that's going to be a slow attack
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okay so the attack in this case is how
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fast we turn our music down once we start
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to hear that shout okay and the release
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is going to be how fast we turn the music
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back up after she closes the door and
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leaves our room all right. Simply said
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guys that is compression in a nutshell
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now before we go I want to give you a
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couple tips to make sure that you start
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to play around with as you progress with
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your compression. All right the first tip
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I want to tell you guys is instead of
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having one compressor do all the work as
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we did in this example try spreading the
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workout between three or four compressors
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this is something that I do a lot and I
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make a video going deeper into this why I
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use multiple compressors but like I said
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allow the first compressor to do a little
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bit of the work second compressor to do a
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little bit more and a little bit more
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whatever feels and sounds right okay the
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second thing I want to say is very easy
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to over compress guys nothing is wrong
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with dynamics so try not to over compress
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your vocals okay listen y'all already
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know who it is man ship boy q aka the
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wave man and we are here with the wave
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monopoly to bring you nothing but heat
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what look if you want to learn some more
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just go down my page man go down the
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playlist you know where to find your
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music knowledge at man look y'all already
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know who it is man ship boy q aka the
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wave man here with the wave monopoly.com
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(...) and until next time
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