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Post by Johnkenn on Apr 13, 2019 11:56:54 GMT -6
How much compression/gain reduction are you guys using on the two bus? I have been using fastest release and slowest attack. Can’t really decide if the auto is better, though. Just got an audio scape bus comp.
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Post by nomatic on Apr 13, 2019 12:35:19 GMT -6
Auto R , Slowest A Hitting less than 2 Db max reduction at 2.1
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Post by seawell on Apr 13, 2019 12:37:03 GMT -6
2:1 Attack 3 Release Auto 1-2db of gain reduction
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Post by schmalzy on Apr 13, 2019 13:18:03 GMT -6
I've liked two different things on different occasions:
30ms attack, fastest release. Punches harder and feels louder. 10ms attack, auto release. More gluing and gelling of the track.
I've also heard of some people in the modern rock world doing a medium fast attack with a 600 or 1200ms release on the SSL - to swim and pump the compressor - and then use a slow attack fast/auto release comp afterwards to glue everything. I've had very limited (almost none) success in that application myself.
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Post by the other mark williams on Apr 13, 2019 13:25:29 GMT -6
Similar to others above, typically: A: 3, 10, or 30 (depending on how much or how little I want to affect the transient) R: Auto (unless it's a song with driving loud drums and I want to get a quicker "pop") Ratio: usually 2:1. about 1-2dB of reduction. Drum bus is a different story. EDIT: and yes, as sean says below, I usually end up with the sidechain hipass filter engaged, unless it tightens up something between bass and kick drum by leaving it disengaged.
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Post by Blackdawg on Apr 13, 2019 13:29:26 GMT -6
1.5r 30ms attack Release to the beat(sb4001 has variable relase to fine tune this) Literally just want the needle to wiggle a bit.
Unless using it in parallel I dont crush it much. Electronic and some pop stuff to get it to pump.
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Post by kcatthedog on Apr 13, 2019 13:47:54 GMT -6
Agree with above but I find I also really like the tone of the AS 4K so sometimes experiment with compressing harder to see if I prefer that tone. I mostly use AR and experiment with attack but listen carefully for transient loss, normally 2:1.
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Post by sean on Apr 13, 2019 14:29:10 GMT -6
I have a TK Audio BC-1S. I like 1:5:1 or 4:1, 10ms to 30ms attack, release usually Auto but sometimes a faster release time for rock music. Usually always prefer the hi-pass filter option
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Post by Johnkenn on Apr 13, 2019 15:02:51 GMT -6
Basically what I’ve been doing. I do think it adds a little excitement
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Post by mulmany on Apr 13, 2019 15:04:33 GMT -6
I am currently set to 2:1, 3ms attack, auto release. I was peaking 4db reduction. Glued everything together nicely.
I guess that makes me an odd man out!
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Post by sean on Apr 13, 2019 15:05:41 GMT -6
I switch back between the console and the mix print and just ride the master into the buss comp until it sounds right. Usually when I "hear" it is when I back off. I think 4dB is about are hard as I like to hit it, usually just tapping the needle. Seems to bring up the RMS without changing the sound too much
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Post by the1984studios on Apr 13, 2019 15:53:55 GMT -6
Also own the AudioScape Buss Comp. Fkn LOVE it.
Mine is parked on my 2BUSS @:
2:1 A = 30ms R = .1 S/C HPF = ON GR = Averaging 3 to 4dB on loudest bits.
Doesn't ever change for 2BUSS duties. I used to be a 4:1, 10, Auto guy as well for 2BUSS but meh...
I love how the softer knee of 2:1 really brings up the low-level details, while keeping everything nipped and tucked nicely in the stereo field. While enhancing front-back depth.
I find the above settings to be the biggest, widest and most impactful for a WIDE variety of music.
Drum Buss is a totally different story, where 4:1 is king.. 3ms attack and same .1 release. S/C HPF usually not engaged. YUMMMMMM!
The "problem" with the Audioscape Buss Comp is.... you can do a SH*T TON of GR and it doesn't sound bad...like, ever. S ometimes I'll look over at it and be like "holy F, I'm doing almost 8dB of GR!" but hey man, if it sounds good, it is good! That's the old Randy Staub trick, BTW... with my above 2BUSS settings; around 8dB of GR... PHEW.
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Post by kcatthedog on Apr 13, 2019 16:35:35 GMT -6
The "problem" with the Audioscape Buss Comp is.... you can do a SH*T TON of GR and it doesn't sound bad...like, ever. Fucking A man !!
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Post by the1984studios on Apr 13, 2019 17:23:45 GMT -6
The "problem" with the Audioscape Buss Comp is.... you can do a SH*T TON of GR and it doesn't sound bad...like, ever. Fucking A man !! Mwhahaha... true fkn story! This goes for all of the AS gear (I own basically everything Chris makes). All of them, I can push the SNOT out of and they just...... don't fall apart like so much of the gear I've had in the past that had a definitive "sweet spot" and no real deviation above or below that spot. I'm a guy who likes to HEAR his analog HW... get the grit, saturation and harmonics so for me, this is a god-send!!!!! FUCK YEAH =D BTW: I know I'm new to this forum, but so far I absolutely LOVE it! I've been a GS guy for YEARS but y'all seem so much nicer and overall more apt to have truly open, honest conversations. Awesome sauce.
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Post by javamad on Apr 13, 2019 18:02:03 GMT -6
I have a Stam SA-400 (Mk 1) ... I just tickle it at 2 or 4db with Threshold at max, and release at Auto. With some tracks though I find release at min setting (0.1) brings it forward.
I am always wary of pushing the energy down under a pillow of compression and I also wish the Mk1 had a side chain ... I still haven't figured out how to feed the side chain in my hybrid rig.
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Post by Deleted on Apr 13, 2019 18:04:32 GMT -6
Think i need to pick up an AudioScape. There was a really useful comparison here a few weeks against the new UA G plug.
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Post by EmRR on Apr 13, 2019 20:08:57 GMT -6
When I do use it (SB4001), 1.5:1 25a AutoR2 HPF just barely see the needle moving. Lately I've been using it that way with drum bus and everything else into an FCS comp (dbx overeasy RMS type thing), summing the two comps together.
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Post by svart on Apr 13, 2019 20:13:35 GMT -6
Typically around 3-6db on peaks.
Slowest or second-to-slowest attack, release to taste. 4:1 almost always.
No sidechains, no filters.
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Post by mike on Apr 14, 2019 9:53:46 GMT -6
Think i need to pick up an AudioScape. There was a really useful comparison here a few weeks against the new UA G plug.
Do you remember the name of that thread by chance ? I couldn't find it. Thanks
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Post by Guitar on Apr 14, 2019 10:37:02 GMT -6
similar to svart
4:1 ratio, about 4 dB reduction
often auto release and slowest attack
sometimes fastest release and faster attack if needed
often HPF to get the kick not pumping
sometimes a little wet/dry action
if you couldn't guess I'm using the UAD version
still haven't built my Serpent.
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Post by notneeson on Apr 14, 2019 19:25:00 GMT -6
Typically around 3-6db on peaks. Slowest or second-to-slowest attack, release to taste. 4:1 almost always. No sidechains, no filters. Same(ish). I check the meter but I also twist the threshold until things sound flatter or kind of closed in, then back off just enough to open the mix back up.
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Post by svart on Apr 14, 2019 20:09:44 GMT -6
Typically around 3-6db on peaks. Slowest or second-to-slowest attack, release to taste. 4:1 almost always. No sidechains, no filters. Same(ish). I check the meter but I also twist the threshold until things sound flatter or kind of closed in, then back off just enough to open the mix back up. Same. Meter ballistics matter here and I think most clones don't react very quickly, or the meter overshoots due to needle weight.
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Post by mcirish on Apr 15, 2019 9:31:05 GMT -6
I have a few SSL buss compressor types. My typical thing is: A:30 R:.1 Ratio: 2:1 I try to get it to make things a touch more exciting. I only go for about 2-3dB of reduction on the louder sections. It seems to work well, but on a few occasions I liked TDL Kotelnikov a bit more. It has a touch more clarity.
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Post by drsax on Apr 15, 2019 10:37:08 GMT -6
I’m using similar settings as many here, just kissing the meters. Generally that’s how I run any buss compressor if I’m using buss compression. But recently, with the Wes Audio Dione, and this could be done with any SSL style comp with a wet/dry feature, it can be extra sweet to set it to stun/crush with very aggressive settings and lightly blend it in.
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Post by jeromemason on Apr 15, 2019 10:54:49 GMT -6
I switch back between the console and the mix print and just ride the master into the buss comp until it sounds right. Usually when I "hear" it is when I back off. I think 4dB is about are hard as I like to hit it, usually just tapping the needle. Seems to bring up the RMS without changing the sound too much Thats how I do it. Slow attack auto release and the needle sitting on -4 and bouncing to -6, seems like everytime I mix into it that's what's happening when I look down. I usually dial the blend in a bit to give it some more transient back with the glue.
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