What is compression?

What is compression?

Compression reduces the overall dynamic range of a

piece of audio by detecting when it exceeds a specified

level, and then attenuating it by a specified amount to sit all the same with the quieter level. Put

simply, it narrows the difference between the loudest and

softest parts of a track so that it’s more consistent in

level.

The parameters of a compressor

Though there are always exceptions, most compressors

share a common set of parameters. Understanding what

each one does will allow us to approach compression

with more Intentionality and ease.

Threshold

A compressor’s threshold, expressed in decibels (dB),

determines the level at which the compressor starts

compressing. The threshold can be set strategically to

target specific moments in your audio — for example, if a

drum groove’s snare is too loud, you can set the

threshold so that it’s low enough that the snare exceeds

it, but high enough that the rest of the kit is bypassed

(the best way to do this is slowly raise or lower the

threshold until the meter only reacts to the snare).

Attack and release

The attack of a compressor, typically measured in

milliseconds (ms), determines how quickly it pulls the

input signal down to the full ratio value when it exceeds

the threshold. The release is the opposite, representing

the total time it takes for the signal to return to an

uncompressed state.

Knee

The knee determines the character of the gain reduction

that’s applied to a signal. It ranges from a value of 0.0 to

1.0, with 0.0 being a hard knee and 1.0 being a soft

knee. A hard knee begins reducing gain abruptly when

the compressor exceeds the threshold, whereas a soft

knee introduces gain reduction gradually as the signal

approaches the threshold.

A compressor’s knee is more nuanced in its impact than

attack and release times, but can be valuable

nonetheless. In general, choose fast attack and release

times with a hard knee for more noticeable / aggressive

compression, and slow attack and release times with a

soft knee for subtle / gentle compression.

Make up gain

We often associate compression with making a track

louder. However, we’ve learned that by definition,

compression actually reduces level. Make up gain is what

allows compression to make a track louder. We can

compensate the level that we lost using this parameter,

and because we tamed the peaks, we can actually make 

the overall audio louder without running into clipping. 

you don't know me

Drop-A-Verse

WHY YOU SHOULD USE SATURATION IN YOUR MUSIC!

 WHY YOU SHOULD USE SATURATION

Firstly what is saturation in music ?

Audio saturation is the essence of what makes analog hardware

sound musical and pleasing. Driving sounds through tape, tubes,

transistors, and circuits have long been an essential ingredient in

great-sounding mixes.

Saturation is a subtle form of distortion.

It adds pleasant sounding harmonics to Vocals and Instruments.

Less of it would make your vocal sound more expensive.

Saturation is being used to add character,presence,warmth and more .

Use saturation on dull vocals to make it more happening and fuller.

Every Pro you know goes through saturation during mixing. They believe its the secret ingredients to a better mix.

Less of it is needed,if you apply to much,you mess up the whole thing.

Its also good to apply in the master bus.

DOES THE EFFECTS CHAIN ORDER MATTER?

The order of your plugins in an effects chain does matter. A plugin will

affect the sound differently depending on its position along the effects

chain. Knowing how the order of plugins influence sound can help you

make mix decisions and troubleshoot problems.

WHAT'S THE CORRECT ORDER FOR PLUGINS IN A EFFECT CHAIN?

This topic is confusing because there is no absolute rule. The order you insert your

plugins depends on the source material, what you’re trying to achieve,

and what sounds best to your ears. There is not a right and wrong order.

         However, there is a traditional order of effects widely adapted. This

workflow provides a good starting point. Moreover, it’s important to

remember these are general mixing suggestions and not hard rules.

Using the same order of plugins may not work for every sound or

situation. Swap the order and remove or add plugins as needed.

1. GAIN STAGING

Gain staging is managing levels at each stage of the signal path.

Maintaining the gain structure gives your mix sufficient headroom and

dynamic range for mixing. It also ensures the audio signal flow is at an

optimum level without clipping as it passes through various

processors and mixer stages.

Inserting a gain plugin first in the chain allows you to adjust your levels

before further processing. You can also insert a gain plugin anywhere

needed along the effects chain to prevent clipping. Avoid running a

“hot” signal into a plugin. Overloading a plugins input signal will give

you poor results.

2. SATURATION

Saturation adds presence, character, warmth, excitement, punch, and

cohesion. Driving sounds through tubes, transistors, and circuitry has

long been the key ingredient in achieving analog sounding mixes.

Saturation enhances sounds by adding even and odd order harmonics.

These harmonic frequencies make a digital-sounding mix sound full,

fat, and warm. It also helps sound translate on small speakers that

can’t reproduce lower frequencies like earbuds, laptops, and phones.

Inserting a saturation plugin before an EQ allows you to cut or

minimize unwanted harmonic frequencies created by saturation.

However, it’s also suitable to saturate after EQing.

3. SUBTRACTIVE EQ

Subtractive EQing removes problematic frequencies, creates clarity,

and adds presence. The goal is to clean up the sound and minimize

problematic frequencies that might get boosted by the compressor.

Use a parametric EQ to cut unwanted sub frequencies and harsh

resonances. Avoid boosting in this first stage of equalization. It’s often

better to boost with a second EQ after making corrective moves with

subtractive EQing and compression.

4. COMPRESSION

Compression smooths out the dynamic range of a sound to maintain

constant levels. It also adds loudness, cohesiveness, punch, and helps

shape the tone. However, used incorrectly can reduce the impact of

the sound, so only apply compression when needed.

This first stage of compression focuses on corrective work. Use a

compressor to control dynamic range and catch the loudest peaks.

Inserting the compressor after a subtractive EQ prevents unwanted

frequencies from triggering the compression.

5. ADDITIVE EQ

After doing corrective work with subtractive equalization and

compression, try shaping the tone with additive equalization. Tonal

equalization adds presence and character. For example, it’s common

to boost the high end to add presence in pop and electronic music.

The best way to shape tone is with an analog modeled EQ . Analog

modeled equalizers emulate the circuity and musical character of their

classic hardware counterparts. Analog modeled EQs also add, warmth,

presence, punch, and sheen to your music.

It’s common practice to use a combination of digital and analog-style

EQs. For example, digital EQs are excellent for corrective work because

they are precise, flexible, and transparent sounding. Whereas analog-

modeled EQs are ideal for tonal work and sweetening. They excel at

emphasizing or attenuating certain frequency bands in a broad,

musical manner to achieve clarity and punch.

6. MODULATION EFFECTS

After achieving an ideal frequency balance and dynamic range, add

modulation effects if needed. Common modulation effects include

chorus, flanger, phaser, tremolo, stereo width, and auto-pan. These

creative audio effects add movement, depth, width, and character to

sounds.

It’s common to insert creative effects after corrective work in post-

production. Some prefer to get the basic sound down before

modulating or adding ambiance. However, it’s also common to apply

modulation effects before corrective effects during the sound design

process.

Again, there are no rules. It might sound better to insert a modulation

effect before the subtractive EQ and compressor. This workflow is

logical if you want to clean up the sound and tame dynamics after

creative processing. Use your ears!

7. REVERB AND DELAY

Reverb and delay effects are typically inserted towards the end of the

chain or on return tracks. These time-based effects add a sense of

space, dimension, and fullness to your mix. They also provide that

integral polish that immerses listeners.

The order of these two effects will also make a difference. For

example, when using delay and reverb together, it’s common to insert

the delay before the reverb. This way the reverb doesn’t wash out the

sound before it hits the delay.

8. LIMITING

Limiters are essential dynamic processing tools used for mixing and

mastering. At a basic level, limiters reduce the peaks in a waveform

and prevent them from exceeding a digital ceiling. The result reduces

the dynamic range of an audio signal and increases perceived

loudness .

Insert a limiter towards the end of your effects chain to reduce

excessive transients, control dynamics, glue sounds together, boost

levels, and add power. However, not every sound requires limiting.

Only apply a limiter if it’s needed.

9. SIDECHAINING

Sidechain compression creates separation between elements and

helps them punch through the mix. It also minimizes phasing and

frequency masking between the two elements.

A sidechain compressor uses an external sound source to quickly

reduce the volume of a sound. For example, sidechaining a bass track

will lower the bass volume every time the kick strikes. This technique

allows the kick to cut through the mix more clearly. It will also give the

kick more of an impact.

Applying sidechain compression last in the effects chain also helps

control reverb and delay tails. In addition, it gives you more flexibility to

adjust the amount of sidechaining without affecting the signal input of

other effects plugins.

10. VOLUME

Inserting a gain plugin last in the chain allows you to adjust your levels

further if needed. It’s also recommended to insert a gain plugin at the

end of the effects chain if you plan on using volume automation.

Automation is an essential process that helps make your music sound

more compelling, exciting, and dynamic. It’s better to apply automation

using a gain plugin instead of the tracks volume fader. This method

keeps the volume fader free to make further gain staging adjustments.

Use this if you have Studio One: Stock Effects.

Use this for Studio One 

Channel Strip & Fat Channel;

WHAT DOES A CHANNEL STRIP PLUGIN DO?

What Are Channel Strip Plugins? Channel strip plugins combine a variety of mixing effects within a single interface. 

These versatile plugins are extremely useful mixing and analysis tools. 

Many channel strip plugins emulate actual channels on iconic analog mixing consoles

Moving on to the Fat channel 

There's a built-in EQ that is useful with Fat Channel.

The Fat Channel is the section of a StudioLive mixer that delivers  

a four-band parametric EQ

The Gate is used for;

A noise gate or gate is an electronic device or software that is used to control the volume of an audio signal. 

Comparable to a compressor, which attenuates signals above a threshold, such as loud attacks from the start of musical 

notes, noise gates attenuate signals that register below the threshold.

Compressors are good too.

Compressor pedals are typically used to enhance the sound of a clean guitar for a couple of reasons. 

First, notes played with a clean guitar tone often lack sustain and begin to decay quickly after the string is plucked.

 Compression extends the life of the note by raising the volume as it decays

The limiter Is normally used for:

-3 & -6 is what everyone believes they should limit the vocals, but that isn't always the case.

Use the Limiter effect to pass signals below a specified input level unaffected or gently reduced, while preventing

 the peaks of stronger signals from exceeding this threshold. ... This limiter effect provides two basic types of effect;

 "limiting" and "clipping"

It is the button right next to the red 'record' button on each track. Each track the tuner is on will only work if it is being monitored.

Now the Tuner is a very helpful tool to have for any vocal lessons.

It helps show you what note you are currently singing in, it also works with Instruments.

EQ And Compressor.

Which should come first?

This is what many get confused.

When asking producers, some will state reasons why a compressor should come first; others, why an EQ should come first.

Everyone stated his or her reasons of why a compressor should come first before others ,

So why does an EQ should come first?

So I'll clarify it for you

and leave you with some decisions to make,

But at the end, Both methods are awesome!

EQ pre (before) compression produces a warmer tone and

EQ post (after) (Compression before the EQ) produces a more cleaner sound.

So what you have to ask yourself is:

"Why should you compress the frequencies

you don't need?"

Do you need a cleaner sound?

If you compress before EQ, how will you get to

hear those frequencies that bother you?

Do you wanna EQ your squish or Squish your EQ?

The truth is: There are no right or wrong ways in mixing.

Make good use of your ears, experiment , and go for what suits your music best.

By: CrowdKit

New YouTube Series For Creating Samples & Loops

 

Crowd Kit has decided we are going to make a new you tube series. 

                                                                                                      

Our channel is.

https://www.youtube.com/watch?v=kJJL7DxWgtM&t=293s

We will be embarking up a journey together to learn more about how we Layer Loops .We will find out how to Add samples, edit samples and more.
The fundamentals behind this series is just to help out in our music community

 and show different styles and ways to make and create different sounds and sampled loops.
Let's just have a good time making music together.

Thanks on behalf of all the Members of Crowd Kit!

 People ask me all the time how I was able to get to the point I'm at with making music,and you know all I tell them is You have to listen to your music. 

    I started at 18 years old, now I'm 30, and I'm going to show you all what I have learned in that time.

I will upload more soon.
GrizzleyMusik