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jeu. 24 nov. 2005, 10:25
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Try 'parallel compression' which allow you to add more oomph without killing your track.
Take one channel, say a kick drum, and use an insert send from that channel and feed it to a compressor. Then take the output of the compressor and bring it back on a completely different channel and viola! parallel compression.
Set your compressor using the following ratios:
Threshold: -50db to -60db Ratio: 2.0:1 to 2.5:1 Attack: 1ms (take the smallest value possible!) Release: 250ms Makeup: 0dB
and then mix it back to the other 'clean' channel from -20dB to +10dB.
Beya
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ven. 25 nov. 2005, 13:22
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abcdaniel: Thanks for the tip on the attack. Come to think of it, my rock snares have tended to get lost. I bet it's because I have the attack set too short.
Any other compressing techniques anybody want to share?
I've been using the C4 a lot on vocals to bring out the high end punch of the consonants without taking over that specific frequency range.
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ven. 25 nov. 2005, 13:53
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QUOTE (abcdaniel @ Nov 24 2005, 12:16) so maybe the slightest bit of peak limiting on the original track is a good idea. Agree on that, Beya? Haven't done it much myself... Well the whole idea behind parallel or upward compression is to preserve transients, but failing the fact that a slight reduction in db for the channel doesn't have the desired effect, then yes introduce slight limiting. Beya
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