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Kay


Ratio : 2 : 1
Threshhold -45db (ish)
Fast Attack
slow Release

Is this a faily ok setup for most basses? (obv not perfect but a structure to work from)

Any Help appreciated.


(Futures Untold im just waiting for some sik answer from you haha)

I could use this answer aswell

this is a faily setup for compressor...
no preset is gonna work for every material.

but yes seems ok for a starting point

hint1:
just start with the treshold up no compression at all...
and get it down till the compressor works the amount you want him to

(like 5 or 6db of gain reduction)

http://www.dubstepforum.com/viewtopic.p ... ompression

I agree with Drwurst about starting with a very high threshold (-5db?).

Also as already pointed out, what settings you use on the compressor will vary according to what you're trying to achieve.

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Example 1:

Lets say we have a very technical song structure with multiple parts/layers. As you've mentioned bass, we'll assume that our bass is nice and thick with frequency content across the entire spectrum. (A chosty hoover why not? )

As the song is complex, each part will undoubtedly need some 'treatment' to get things sitting nicely together. Without going on a 'choose good samples/sounds to begin with rant', the obvious two tools we'd reach for would be the eq and compressor.

Even after assuming we've followed the mixing advice offered by the wise owls in the golden thread of harmony, we will probably want to ensure that our bass stays where we want it; down at the bottom, pushing bass weight into our stomachs.

Thus we could do two things: roll off all unwanted frequencies using our eq on each and every part of the song that allows it, and add compression.

In this instance, I'd be inclined to start with the low threshold you mentioned (anything under -20db), stick with the fast attack and the long release settings. But, as we want the bass to stay put underneath all our other layers, I'd be inclined to go for medium to heavy compression. Squash the fucker!

Of course, not all basses can withstand being squashed. This leads on to example two.

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Example 2:

We have a sparser track with fewer parts to the mix. With less elements compeating for frequency space and headroom, we don't need to apply so much compression on our bass.

Say we had a pure sine sub bass with the lightest amount of distortion added for some harmonics. As there is less conflict amongst the elements, we could probably settle for lighter compression. Thus, a higher thershold (between -2db & -20db), a gentler ratio setting somewhere under 5:1 and the usual fast attack/slow release setting should suffice. We would still want to use some compression as the harmonics on the bass from the distortion may cause some 'muddying' higher up the frequency spectrum. With the light compression setting, this effectively keeps the volume 'in place' without having to resort to anal eqing...

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Example 3:

Say we want our bass to be really aggressive with each new note played. We could achieve this throuigh a combination of sequencing (the kick drum playing at times when the bassline isn't) and compression.

For this kind of 'slap yer faceness', we'd need to use a medium to heavy threshold and ratio, between -10db & -30db threshold & 5:1 or more ratio, and a medium to slow attack with a medium to fast release. Because the compression ratio only kicks in halfway, and the compression gets heavy duty on our bass a little late, the 'attack' portion of our bass will 'pump'.

If we did the same on our kick drum, and ensured scrupulously that the kick drum and bass didn't ever overlap, the whole song would come through with a ridiculously 'fat' bass weight feel to it!


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Conclusion:

The compression setting used always depend on what's needed and what is desired.

If a bass is 'overpowering' - eating up headroom in our mix, then we need to compensate by either turning down the volume fader or applying heavy duty compression/limiting. (Some people may argue against using a limiter hehe, but it's your music, so do as you wish)

If the bass is only slightly unruley on one or two particular notes, one method to solve this would be to surgically eq the offending frequencies with a parametric eq or notch filter. This would negate having to automate a volume fader or use harsh compression settings. We could add light compression just to be on the safe side of course...!

If you don't really need to compress the bass because your mix is perfect, you could still add some light compression just to be sure of things. That way, everything will stay in place, just like strapping yourself in with a seatbelt in a car... (or something)

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Random tips on settings:

For 'light' compression, low compression ratios are needed (3:1 and under).

For 'heavy' compression, compression ratios of over 5:1 are needed.

For 'constant' compression, very low threshold settings are required combined with fast attack times and slow release times.

For 'sparse' compression, slow attack times and fast release times are needed.

'Limiting' is compression with a ratio of 10:1 or over, with a fast attack and fast release.

'Transparent compression is compression you can't noticably hear doing anything. A good transparent compressor will allow you to use extreme settings, and all you'll here is a slight reduction in volume. (Thus the make up gain knob on most compressors)

To achieve subtle or 'transparent' compression using any compressor, use 'sparse' 'light' compression. (See above)

'Character' compression adds some sort of noticable change in tone to the material being compressed. The compressed signal may seem 'warmer' or 'raw' compared to the uncompressed signal.

'Pumping' is achieved by using heavy compression ratios with medium to slow attack times, & fast release times.

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Someone else can explain side chain compression, parallel compression & 'ducking'. If some one does though, I think we may have a decent thread on compression!

I guess the real trick to learning compression (apart from reading as much as you can about it), is to load up a bassy drum loop or synth patch and experiment!

Jesus Futures, I'm knackered after reading your reply!

On the money though, again!

-45?? wow.

try bringing up your ratio to more like 6 or 8:1 and backing off on your threshold.

Futures mate big help! (just as i expected ha)

Really apreciate all that !

Wow Futures... That's a big help!! Very well put, and in Lehman's terms as well

I like to use different compressors for different tasks.

futures_untold wrote:Someone else can explain parallel compression.........

Ok! I guess i can have a go!!

Parallel compression AKA New York Compression

As far as i recall was first used during the days of New York Punk.

It is basically a layer of thick/heavy compression mixed with a clean layer of the same track.

To expand on this.....

This method is normally used for "fattening" or "beefing" up your source sample. It works very nice on Kiks, Snares and Bass, although there are many other creative applications.

Now how to do it........

Basically there are a few ways to set up this with roughly the same out come, either duplicate a track, or as i prefer make a Bus/Group track.

The duplicate/bus will be processed in a different way as the original. The normal application is to "smash" the parallel version to add a layer of "beef" under the original.

Example:

Get a kik drum, make you group/duplicate. Compress the group hard, Fast Attack, Slow release, hi ratio. This should add a layer of thump under teh original.

Then mix the two channels together i normally have a 70-30 or 60-40 type releationship between the volume of the two, but there is no rules in music, just guidlines.


This is not the only application of parallel compression, you could use it for snap too.... instead of "smashing" the drums on the group, use teh compressor to bring out the snap in the hit, then layer this with the original.



Other uses of paralell PROCESSING


This same method can be used to great affect with a number of different FX. Setting it up the same, but instead of a Compressor on a paralell bus any effect can be there.

I really use a lot of parallel distortion and reverb. Keeping the core sample clean but adding a flavour of the effect over it. Thus retaining all the samples sonic glory (the reason you chose teh sample in the first place) but adding a layer or grit/shine/punch etc


This can be experimented until your hearts content, there really is no limit with parallel processing, keeping in mind that you could have any number of parallel layers.


Also as a side note, i cannot stress enough........


Not every sound need compression!!!!

*Shock*

It was to me when i found out.......

think about it though, a lot of the samples we use are already processed and compressed. I dont knwo many people that make electronic music that sourse samples straight from a live drum kit.

So i always ask myself, why am i compressing????

ask yourself this everytime, you will find that 9/10 times you won't know the answer.

Just coz it's sat there on you pc dont mean you have to use it everythime.


God, one of my mates is into fat women, there is loads of Chubby PrOn on my pc. This dont meen every time i want a wank i have to watch it


jokes

but you can see my point....



waffle out ......