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Typically when I am doing on compression on anything I just use the Ableton compressor. I noticed, for example, this months Computer Music came with an "exclusive plugin CM-COMP 87". What could possibly be the difference between this compressor and the one I currently use and would I even really notice a difference? I will probably install it and try it out but regardless what could the difference really be between one compressor and another??

In short, different comps emulate different peices of hardware. Which all have there own "sound" and characteristics. I can't quite remember that cm comp is based off, but I think it's and fet style.

There's a lot more to it then that, and if your interested yo might want to look up different comp brands and see what made them famous and there charictaristics.

That's the (very) short answer to your question.

Feedforward/feedback, attack and release curves, auto release parameters, variable ratios, saturation, hysteresis, peak/rms, rms time, other tweaks in the detector circuit, etc.

Lots of variation in compressor design.

Hmm I figured the answer was something complex like that

It takes some training to accurately hear these characteristics, but just go with what you think sounds
good. I compare limiters and comps all the time, but for my own stuff I just stick to the basics.
I'll worry about applying stuff like that when I feel like my music is worth it

some might have more features. like an EQ or soft clipping, or discrete/continuous values for ratio and other parameters, or variable/fixed makeup gain amounts... the list goes on and on.

dubunked wrote:some might have more features. like an EQ or soft clipping, or discrete/continuous values for ratio and other parameters, or variable/fixed makeup gain amounts... the list goes on and on.

That too, but if you make twenty 1-knob compressors they could all sound different as well.
Doesn't make a lot of sense to do that in software though.

All about having one 20-knob compressor innit

Yeh m8

The vast majority of compressors have subtle (and not so subtle) differences. This in part is why learning compression can be quite time consuming and confusing. Most sound slightly different from each other and repeating the effects precisely with another compressor is not a given. I recommend getting one good compressor and learning it inside out then you can supplement your knowledge bank on compression with different flavours. This way when you know the abilities and limitations of one device the subtleties of a new device will be more easily audible. Then you can have more powerful control over dyanmics and tone of audio by using varieties of compression. There is a learning curve and it takes time, patience and practice....

In the first instance learn what compression can do theoretically then with regards a sonic goal....

You may find this article I wrote of use, it predominantly explains compression and provides some realistic practical exercises:

http://www.resoundsound.com/effective-t ... mpression/

besides using extreme settings or multiple instances of comps with mild settings, what are some good techniques to train your ears for this stuff? just being aware of what the parameter does or should do as you adjust it?

I'll bet with one knob compressors that the one knob is controlling multiple parameters at the same time, perhaps with different scaling for each.
Why doesn't someone make a compressor that gives the end user access to adjusting this parameters that you guys are talking about that I don't see in the plugins I've used? Why not make an uber featured compressor that is so versatile in this way? (I mean, you'd have to get really deep with it but some people appreciate that)

Artie Fufkin wrote:Why doesn't someone make a compressor that gives the end user access to adjusting this parameters that you guys are talking about that I don't see in the plugins I've used? Why not make an uber featured compressor that is so versatile in this way? (I mean, you'd have to get really deep with it but some people appreciate that)

which parameters do you mean specifically?

Artie Fufkin wrote:besides using extreme settings or multiple instances of comps with mild settings, what are some good techniques to train your ears for this stuff? just being aware of what the parameter does or should do as you adjust it?

I'll bet with one knob compressors that the one knob is controlling multiple parameters at the same time, perhaps with different scaling for each.
Why doesn't someone make a compressor that gives the end user access to adjusting this parameters that you guys are talking about that I don't see in the plugins I've used? Why not make an uber featured compressor that is so versatile in this way? (I mean, you'd have to get really deep with it but some people appreciate that)

You're talking about Compassion. It has tons of options.

Once I get around to coding a swiss army knife dynamics plugin, I'm gonna have a couple features that help the user hear what the compressor is doing so you can dial in all the parameters.

^bigups, I will be eager to check out whatever you end up making.
I looked up a little bit about that compassion plugin and it looks like something that would be really helpful with the gui for someone to understand exactly what its doing and how compression works.

dubunked wrote:which parameters do you mean specifically?

"Feedforward/feedback, saturation, hysteresis(I think I've only seen this in a gate type thing for reaper lolol), peak/rms, rms time, other tweaks in the detector circuit, etc. "
or any of the ones you mentioned
"EQ or soft clipping, or discrete/continuous values for ratio and other parameters, or variable/fixed makeup gain amounts"
I don't know how much of a difference some it would make, but I'm sure some of the people on gearslutz would gladly split hairs over it.

Yeah Compassion is powerful and intuitive. You can just use it for simple tasks or open the second panel and dig deep.

Hysteresis is separate thresholds for attack and release. Commonly used on gates but you could use it on a compressor as well. For instance on a gate, the sound has to hit a certain threshold to open the gate, but for the gate to close, the threshold is actually lower, so the gate doesn't flutter open and closed if the signal level is hovering around the threshold value.

Also, nobody mentioned knee yet, which is one I forgot. Compassion lets you set the hardness of the knee as well as the shape.