![]() Most people take one of two approaches when setting ratio and threshold. Ratio and Threshold are the two key players in compression, and how they are set in relation to eachother can make or break the type of sound you are trying to achieve. The compressors we are comparing in this segment are the Avid/Pro Tools Dynamics III and the Logic Pro compressor set to Platinum Digital. Ratios of around 2:1 and 3:1 are great for general dynamic control, and upwards of 4:1 are closer to limiting and squashing type effects.Ĭonfused about the difference between compressors and limiters? We have you covered □ Combining Ratio and Threshold This can be a confusing concept, but higher ratios = more compression. Wanna find out what other mixing mistakes you might be making? Check out our full guide here □ How The Hell Does Compression Work?Ĭompression is just volume changing over time, really fast.įor example, a ratio of 2:1 will turn a signal that is 1dB over the threshold down by 0.5dB.īecause for every 2dB that crosses the threshold on the input, it will output only 1dB over the threshold.īut a ratio of 4:1 will turn that signal down by 0.75dB, leaving only 0.25dB over the threshold left.īecause for every 4dB that crosses the threshold on the input, it will output only 1dB over the threshold. While it can contribute, many producers overlook many other factors involved with mixing and production as a whole, like: In this week’s Logic Pro Tips video, Jono Buchanan shows you how to apply multi-band compression and explains the effect it has on your instruments. ![]() Unfortunately, compression often ends up becoming praised as the holy grail of a fat, full and loud mix. We recently showed you the different types of compressors in Logic Pro X but some of you may be wondering what the Multipressor can do. It’s a tool that can be used well, or poorly. It has a slow attack time and a smooth release, making it ideal for adding warmth and character to vocals, acoustic guitars, and other instruments. In fact, it’s an important tool that I would place in the top 4 most crucial for mixing: The Optical compressor emulates the classic LA-2A compressor. ![]() Otherwise, you’ll make the same mistake I did: endlessly tweaking a compressor, hoping it would fix my crappy songs.įirst of all, it’s important to understand that like any audio effect, compression is simply a tool. Getting More Advanced with Compression □īefore we dive into the complexities and technicalities of how a compressor works, it’s important that you understand it from an overall perspective.
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