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Synth Compression

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Postby UniFly » Thu Oct 31, 2013 5:04 am

Hi,

Could you recommend what compressor and what configuration you consider as the best for synth or lead in your track? I'm interested in drum & bass/dubstep production.
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Postby 3za » Thu Oct 31, 2013 5:13 am

1176

turn the input all the way up, and the output a little down. Set the ratio to 20, and then the attack/release to taste.

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This is not how mixing works though :?

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A 1176 is a little pricey though get on the Stillwell Rocket, or if you want something free Antress.
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Postby UniFly » Thu Oct 31, 2013 8:42 am

Thank you, quite good option, I'll check about it! There are differences between UAD and Stillwell Rocket --- http://www.youtube.com/watch?v=46qYev-ScSY
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Postby UniFly » Thu Oct 31, 2013 8:59 pm

Any other suggestions? I mean not only synth or lead but also main instrument to get best sounding as possible.
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Postby fragments » Thu Oct 31, 2013 9:24 pm

Compressors don't work that way. There are no standard settings that will always sound good on X.
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Postby forbidden » Thu Oct 31, 2013 9:42 pm

fragments wrote:Compressors don't work that way. There are no standard settings that will always sound good on X.
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Postby fragments » Thu Oct 31, 2013 11:08 pm

Additionally, your DAWs compressor is likely adequate for most tasks. If you want a character compressor I suggest you look into either some entry level hardware ones or spend the money on some good analog emulations. UAD, Waves, etc. These two options will get you different, but pleasing results depending on what you are after. The two options will also cost about the same.
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Postby nowaysj » Fri Nov 01, 2013 2:34 am

I can't believe that no one has mentioned that you don't need a compressor until you know what a compressor does.

A synth is like the thing that needs the least compression. You have almost total control of the sound because you are synthesizing it. You can shape the amplitude envelope to have the dynamic range you want.

I just get the sense that someone told you that you needed to compress and maybe you really don't know what that means. If that is the case an investigation into dynamic range and transients is probably in order, before you consider purchasing or stealing one.
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Postby fragments » Fri Nov 01, 2013 2:37 am

nowaysj wrote:I can't believe that no one has mentioned that you don't need a compressor until you know what a compressor does.

A synth is like the thing that needs the least compression. You have almost total control of the sound because you are synthesizing it. You can shape the amplitude envelope to have the dynamic range you want.

I just get the sense that someone told you that you needed to compress and maybe you really don't know what that means. If that is the case an investigation into dynamic range and transients is probably in order, before you consider purchasing or stealing one.


Well. Usually no one listens when I suggest that lol. Really if you aren't tracking instruments compression almost plays a different role I'm electronic music.
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Postby UniFly » Fri Nov 01, 2013 5:45 am

I know that in some cases compressor is not required, but when I use some FX, e.g. distortion/saturation without extra options (like envelope) or just don't want to spend a lot of time balancing dynamics on the synthesizer compressor can help (...of course, can harm). P.S. Sometimes the sound is too sharp for my taste. It will be good to know how are you compressing your synth / or changing the synth parameters without compression? Thanks :W:
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Postby UniFly » Fri Nov 01, 2013 6:51 am

fragments wrote:Compressors don't work that way. There are no standard settings that will always sound good on X.


I agree. Just wanted to know about your findings.
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Postby nowaysj » Fri Nov 01, 2013 6:58 am

Yes there are things that you can do that will get out of hand. When you combine resonant filters with distortion, sound can get wild :O

A compressor can help with that. But you've kind of got to know how to use a compressor to make the sound better than make it worse. Honestly, eq'ing filtering, most other fx, it is like you do more or less of the effect, and you hear it. Not so with most compressors. There are usually 4 dependent variables, or controls that all affect how the other controls work. It is kind of crazy. After having finally gotten a little better at it, it doesn't seem like it is all that mysterious, but I spent a long time using compressors, not knowing really what they were doing, or I was doing.

When you say sharp, I'm thinking frequency, the tone. Do you mean, like, too high pitched and piercing? That sounds like the job for a filter or eq'ing. Using a low pass or a high shelf to pull down those piercing tones, or even a (or more) bell shaped curve(s) to find the piercing frequency and pull it down.

On a synth, the amp envelop is your best friend! That controls exactly how the amplitude, the volume of a note works. From silence at the start of the note, to full on note, and then how the note returns back down to silence.

Saturation should help pull in the peaks, and distortion conceivably can do the same thing, but it can also get out of hand. It can get so extreme that there is no amount of fx or compressing that will bring it back into usable.

(oh damn, reading you op, I think you got me)
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Postby UniFly » Sun Nov 03, 2013 11:43 am

I got you, nowaysj. I will try some experiments with EQ'ing after FX device to make sound as more pleasant as possible for listener and me. I understood that EQ and envelopes does almost everything (in this case), but had much more practice with compressor or eq except dynamics on the synth. In fact, my question is more about taste and good/working tips what you do to reach good dynamic on the synth
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Postby Sure_Fire » Sun Nov 03, 2013 2:05 pm

Although it's been said already, I'll back it up. Take a look at what you're thinking you need to compress and find out if it actually needs compression or not. Visualisers help with this kind of thing, you can see the dynamics getting out of hand and apply compression to taste. Usually synth leads don't need to be compressed since they are pretty constant, if there is modulation involved then it might need a bit. Basses on the other hand usually need a lot of compression since heavy modulation and shitloads of harmonics (probably the result of distortion) tend to make the dynamics go haywire and take up most of the headroom you have.

Think of a compressor as a leveller, it keeps things at a relatively constant level. If whatever you are compressing already has a pretty constant volume, it probably doesn't need it. Read up on compression a bit, find out when to use them and what settings work in different situations.
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Postby dca » Wed Nov 06, 2013 10:14 pm

and before you go spending a lot of money, try out this out, probably can do everything you need:

Rough Rider Compressor:

With an explanation for each control, I highly recommend this one, it sounds great and its easy to use

http://www.audiodamage.com/downloads/pr ... pid=ADF002
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Postby nowaysj » Wed Nov 06, 2013 11:02 pm

News update: NWJ compressed a synth last night!
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Postby alphacat » Wed Nov 06, 2013 11:27 pm

:lol:

Was it really that hairy dude or were ye jus' being lazylike and not wanting to EQ that m'fugga? :dunce:

And lulz at this Google image search.
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Postby ThisIsSovereign » Thu Nov 07, 2013 12:36 am

alphacat wrote::lol:

Was it really that hairy dude or were ye jus' being lazylike and not wanting to EQ that m'fugga? :dunce:

And lulz at this Google image search.

Most of those are from the "M8 do u even compress?" FB page: https://www.facebook.com/m8pls
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Postby nowaysj » Thu Nov 07, 2013 12:38 am

alphacat wrote::lol:

Was it really that hairy dude or were ye jus' being lazylike and not wanting to EQ that m'fugga? :dunce:


Was just really lively oscillators, with a little stimulation into a really lively filter, with a fair amount of subtle modulation throughout the patch. Just certain points in the note would get a little... hairy and needed a trimming.

I was astonished at the shift in tone though. Jeez, it was not subtle.
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