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Post by ab101 on Mar 2, 2023 14:15:06 GMT -6
I think I got lucky with some settings on the Massenburg but some great presets would help. I think the Molot is super easy to use with an awesome sound, and the Kotelnikov has some great presets.
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Post by Deleted on Mar 9, 2023 22:37:58 GMT -6
This thing is the smoothest bus compressor imaginable.
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Post by Deleted on Apr 15, 2023 1:34:45 GMT -6
MDWDRC2 is sick if you just turn some knobs and make stuff bang, smash, or pump too. It doesn’t get horrible, it just gets cool. It never sounds broken on deeper gain reductions on busses unlike most compressors that try to blend slow rms and crazier peak detectors, eg Presswerk, Kotelnikov, and Powair which can all break down when you try to get nuts on a bus with them for better or worse. Yes because you are correlating price with quality. Kotelnikov GE did the same things almost 10 years ago. And it does so more aggressively because the faster detector is a peak detector, it has cleaner auto release and much more creative possibilities for problem solving with the release inertia, frequency dependent ratio, and optional selectively half wave rectifier. Powair did similar things with even less THD but a proper lookahead a few years ago. It has more imd set aggressively but it can be aggressive and has its own unique features An Aphex Compellor does for a similar price and less tweaking. Oxford Dynamics can do something similar too. It just works in totally different way and pumps more on deep gain reductions but again a proper lookahead. Totally different but it does largely the same stuff at the end of the day if you’re careful with gainstaging. More distortion but also has a built in gate and expander so can get the job done faster. Not many know how to set this. MDWDRC2 isn’t really better than these. It’s just different and more money and has a sound of its own. It does a couple things better and a couple things worse.. It’s 400 dollars. If it came out 10 years ago before Kotelnikov and Powair maybe I would have a different opinion than “different and over 3 to 30x times the price.” I am not biased. I bought all the plugins at full retail price. Not the Compellor of course. Who would when Rode owns Aphex? Kotelnikov can do larger similar things with its auto hold and a fast attack on insane quality and is more controllable. The only multiple detectors, one vca digital compressors I didn’t buy was the flux and the sonible. Sonible smart was impossible for me to make clean and Flux plugs have too many options that should be hidden behind the scenes to use creatively. There’s not a lot of reason to buy MDWDRC2 because you won’t recoup the cost that easily vs what you probably already own. I didn’t even get into the compressors with peak crest behind the scenes like Presswerk, the Dangerous, and Unisum which is also cool and hard to make bad. Set it aggressively and at worst it sounds like a Distressor but you can make it a psycho multiband distressor. The amount of time I saved on bass and vocals during the demo period recoup’d what I paid for drc2 even before I even bought it. And, btw, I also got an nfr from George, so the price correlation thing isn’t, well, a thing. It’s just a damn great processor. powerair kinda sucks. tdr is excellent, but does a very different thing for me. Different sound, different workflow, different use cases. I wouldn’t have paid 400 for it though. Agree with you 100% now on this but I think it is worth 400 dollars because it has no sweet spot that you can accidentally knock the compressor out of while riding faders. I also dig the almost vca comp tone on it too. |
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Post by ab101 on Jun 8, 2023 11:28:17 GMT -6
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Post by Deleted on Jun 8, 2023 13:02:11 GMT -6
It’s the shit. Buy it over some 1176 or SSL clone.
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Post by Deleted on Dec 2, 2023 12:36:55 GMT -6
Pretty exceptional plugin. I'm calling it my 'stable-maker'. Makes tracks feel better-performed. I'm finding less need for corrective eq, simply controlling dynamics (as though the musicianship was better) and then setting (and forgetting!) the fader level. Love it. I dialed in miraculous results on a super uneven drum performance, hardly needed any eq (previously had needed a LOT of narrow cuts to try to sort out the cymbal resonance mayhem), and then used my 'usual' compressors for tonal and envelope shaping. Best of all: no need for drum samples now. Heck yeah. Genuinely blown away. Spending 5 minutes to dial this in on a channel saves 10 minutes of tweaking multiple plugs and juggling faders. So it feels like a lot of work on one screen, but the payoff will ultimately be a savings in time. G'damn. Good stuff. MDWDRC2 is the leveling god for acoustic and clean guitars. It greatly reduces corrective fader automation, permitting automation for creativity and emotional impact of the song. Before MDWDRC2's lack of an obvious envelope, that would need to be a later VCA on the part. Earlier digital compressors without obvious envelopes achieved them through stupid hold times or too long lookaheads that would punch wholes in your audio or end up pumping it around, e.g. I love Powair when it works but all hell breaks lose when the leveler randomly decides to become an expander. |
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Post by copperx on Dec 2, 2023 13:47:28 GMT -6
It’s the shit. Buy it over some 1176 or SSL clone. How does it compare against mostly invisible compressors such as the Aphex 651? |
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Post by phantom on Dec 2, 2023 17:18:36 GMT -6
Pretty exceptional plugin. I'm calling it my 'stable-maker'. Makes tracks feel better-performed. I'm finding less need for corrective eq, simply controlling dynamics (as though the musicianship was better) and then setting (and forgetting!) the fader level. Love it. I dialed in miraculous results on a super uneven drum performance, hardly needed any eq (previously had needed a LOT of narrow cuts to try to sort out the cymbal resonance mayhem), and then used my 'usual' compressors for tonal and envelope shaping. Best of all: no need for drum samples now. Heck yeah. Genuinely blown away. Spending 5 minutes to dial this in on a channel saves 10 minutes of tweaking multiple plugs and juggling faders. So it feels like a lot of work on one screen, but the payoff will ultimately be a savings in time. G'damn. Good stuff. MDWDRC2 is the leveling god for acoustic and clean guitars. It greatly reduces corrective fader automation, permitting automation for creativity and emotional impact of the song. Before MDWDRC2's lack of an obvious envelope, that would need to be a later VCA on the part. Earlier digital compressors without obvious envelopes achieved them through stupid hold times or too long lookaheads that would punch wholes in your audio or end up pumping it around, e.g. I love Powair when it works but all hell breaks lose when the leveler randomly decides to become an expander. Is POWAIR good? I never paid too much attention for it. Looks weird and cheap asf. |
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Post by Darren Boling on Dec 3, 2023 23:49:08 GMT -6
MDWDRC2 is the leveling god for acoustic and clean guitars. It greatly reduces corrective fader automation, permitting automation for creativity and emotional impact of the song. Before MDWDRC2's lack of an obvious envelope, that would need to be a later VCA on the part. Earlier digital compressors without obvious envelopes achieved them through stupid hold times or too long lookaheads that would punch wholes in your audio or end up pumping it around, e.g. I love Powair when it works but all hell breaks lose when the leveler randomly decides to become an expander. Is POWAIR good? I never paid too much attention for it. Looks weird and cheap asf. Dan pretty much nailed the perfect description of POWAIR and MDWDRC2 here. Last week I got called to salvage a Xmas Album that someone just fried the vocals on. After Soothe2 and other trickery to take away the ugly and bring some life and listenability back to the vocals I thought I'd try the MDWDRC2 to see what it'd bring as I'm in another 30 day demo. I still don't fully understand what I'm doing with it but I do know I can make things sound like I want, and through some voodoo it brought life back to these vocals in a way that both enhanced the audio and the performance. I both love and hate this as it's a damn expensive plugin. That said it's one that'd pay for itself many times over on the gigs I've been doing lately. |
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Post by Deleted on Dec 4, 2023 9:13:43 GMT -6
MDWDRC2 is the leveling god for acoustic and clean guitars. It greatly reduces corrective fader automation, permitting automation for creativity and emotional impact of the song. Before MDWDRC2's lack of an obvious envelope, that would need to be a later VCA on the part. Earlier digital compressors without obvious envelopes achieved them through stupid hold times or too long lookaheads that would punch wholes in your audio or end up pumping it around, e.g. I love Powair when it works but all hell breaks lose when the leveler randomly decides to become an expander. Is POWAIR good? I never paid too much attention for it. Looks weird and cheap asf. Sometimes, I mean maybe 1 out of 50 times, Powair is the best sounding compressor. And it comes in the sound radix bundle so many pros and semipros own it. And it does exactly what Frank Filipetti said it does: be a clean compressor/limiter that applies a consistent envelope to your sound regardless of the level of your sound via an adaptive threshold control that's connected to a leveler so it doesn't overcompress your signal when it gets hot and kill your sound. it also has a useful peak stop function so you can stop the overshoots without having to use a faster attack than you'd want or a clipper or limiter afterwards. What Powair needs though is a adaptive release on the leveler and a range control for both compression and expansion on it like the Omnipressor. As it is now, the leveler cannot do a lot of gain reduction without pumping around wildly when set fast or slowly swelling much of the time. I bet it's better with dialogue yet like I have never found a reason to use it over the old school Oxford Dynamics or Kotelnikov on any vocal part that couldn't take a lot of distortion from being hammered with serial compression |
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Post by Deleted on Jan 3, 2024 7:50:40 GMT -6
So I love the MDWDRC2 but I figured out two major quirks recently:
1) it seems to calculate attack and release rates in samples rather than time. The old school PSP Mastercomp also did this but the DRC is a good deal less distorted. This means that you must slow it down at higher sampling rates.
2) the main detector has a slight lag unless you soften the knee. This peak overshoot can be hilariously massive at 44.1 and 48 khz so soften the knee of the main detector a ton. I mean I prefer it at -12 or lower.
Another tips is to have the peakiest peaks kiss the automatic release, then the “peak” detector (in stock settings it’s a root mean cube detector), before going into the main rms detector. This gives you a 3 time constant, very smooth release like a way better Fairchild. You can use it to replace a good chunk of automation.
Kotelnikov GE and the classic but dirtier Weiss DS-1 definitely have less quirks than this. Kotelnikov is still exemplary almost 10 years after it was released. It just continues speeding up and maintains clean sound where Unisum gets major modulation side bands and turns into a distressor. You just cannot use them to replace automation as easily.
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Post by copperx on Jan 3, 2024 23:19:14 GMT -6
So I love the MDWDRC2 but I figured out two major quirks recently: 1) it seems to calculate attack and release rates in samples rather than time. The old school PSP Mastercomp also did this but the DRC is a good deal less distorted. This means that you must slow it down at higher sampling rates. Quirk #1 is insane if that's actually how it works. That means that you have to learn how it behaves at different sample rates. |
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Post by Deleted on Jan 3, 2024 23:37:34 GMT -6
So I love the MDWDRC2 but I figured out two major quirks recently: 1) it seems to calculate attack and release rates in samples rather than time. The old school PSP Mastercomp also did this but the DRC is a good deal less distorted. This means that you must slow it down at higher sampling rates. Quirk #1 is insane if that's actually how it works. That means that you have to learn how it behaves at different sample rates. or just double your timing / release settings (not the exponent) or always set it by ear 👂 It’s an even less of a set it and forget it compressor than Kotelnikov but the intermodulation distortion is so low you’ll use it anyway |
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Post by Darren Boling on Mar 11, 2024 18:46:36 GMT -6
On sale for the first time since the intro price (and it's cheaper now).
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Post by Dan on Mar 12, 2024 12:38:22 GMT -6
It’s a really good compressor. Speeds up automation. Good on two bus.
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Post by Darren Boling on Mar 12, 2024 12:43:12 GMT -6
It’s a really good compressor. Speeds up automation. Good on two bus. Couldn't agree more. Use it instead of Ozone 11's upward compression option and be thrilled with getting your lowend back. |
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Post by phantom on Mar 12, 2024 12:43:34 GMT -6
It’s a really good compressor. Speeds up automation. Good on two bus. Clean Dan? Is that you? |
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Post by seawell on Mar 12, 2024 13:07:26 GMT -6
It’s a really good compressor. Speeds up automation. Good on two bus. Hey Dan, if you don't mind sharing, what settings are you finding useful on vocals? With the sale, I may finally pick this one up. Would love to have something that could transparently help cut down on vocal automation a bit. |
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Post by Dan on Mar 12, 2024 18:27:20 GMT -6
It’s a really good compressor. Speeds up automation. Good on two bus. Hey Dan, if you don't mind sharing, what settings are you finding useful on vocals? With the sale, I may finally pick this one up. Would love to have something that could transparently help cut down on vocal automation a bit. You have to set it by ear. The quality of the detector varies across sample rates, it has two averaging detectors set by default to rms and root mean cube, and release is linear, not log so you need to use the soft knee, peak detector, and release override to not have it pump or hold down the audio at times. Lookahead doesn't seem to smooth the attack so I would turn it off. BS1770 filter depends on what you're compressing but I keep it on for bus work.
Watch the videos for it, Kotelnikov, and the GML 8900 honestly. Kotelnikov is cleaner and more consistent across samples rates and settings. It just behaves differently from the MDWDRC2 because it's logarithmic, has RMS + Peak detectors, and attack and release aren't single capacitor value so you don't have to adjust it constantly to not make it obvious sometimes but you cannot replace automation with it wholesale sometimes or get the crazy room pump as easily. Kotelnikov is better on drums easily though. Kotelnikov GE has some really good presets but you'll need to tweak them to fit the material
MDWDRC2:
GML 8900:
Kotelnikov:
Once you know how to set a dual detector compressor with a peak-crest or averaging control you can use any of them. Weiss DS1 is the other big one itb along with the Oxford Dynamics (dynamics multi-effect with 4 detectors and only one vca ultimately controlling the audio at a time) then there's Aphex Compellor and a few compressors that try to determine the peak crest for you like Presswerk's Adapt knob and the Dangerous Compressor's Smart Dynamics button.
On vocals that don't need to be radically dirtied up, I use Oxford Dynamics, then if they need to be automated, I will use MDWDRC2 to speed that up set a bit slower than I would as a compressor, and then on the vocal bus I will use Kotelnikov GE for iron control of them as a whole in the depth of the stereo image. Kotelnikov GE can massage the individual vocal track but often I want one of the detectors to be a sledgehammer and Oxford Dynamics gives me that power while in MDWDRC2 they can have different "attack" but share the same ratio so your leveling and your peak shaving have the same ratio on Kotelnikov, MDWDRC2, and Weiss DS1.
Weiss is cool though because it has unique behaviors and you can ride it up into the limiter and then lower the output or fader similar to good old Waves Renaissance Compressor when light turns red but better. The old Waves stuff (Renaissance Maxx, Vocal Rider, and MV2) is still cool too unlike the awful CLA plugs.
I'm basically using the MDWDRC2 as a more controllable Waves Vocal Rider and Ren Axx tbh. I'm not going to say better, it's just more controllable, operates differently, and can modulate the volume faster and do way more. You can shove it on drums and it still sounds good. It's not some multi-rate thing like the Weiss and Tokyo Dawn dynamics processors that have working faster attacks that don't misfire and seem to switch between attack and release more accurately with the signal. Those hug the signal better and Kotelnikov misfires less and has noticeably more program dependency but behave entirely differently because they are designed differently but all have similar controls compared to more conventional compressors.
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Post by seawell on Mar 12, 2024 21:52:43 GMT -6
Hey Dan, if you don't mind sharing, what settings are you finding useful on vocals? With the sale, I may finally pick this one up. Would love to have something that could transparently help cut down on vocal automation a bit. You have to set it by ear. The quality of the detector varies across sample rates, it has two averaging detectors set by default to rms and root mean cube, and release is linear, not log so you need to use the soft knee, peak detector, and release override to not have it pump or hold down the audio at times. Lookahead doesn't seem to smooth the attack so I would turn it off. BS1770 filter depends on what you're compressing but I keep it on for bus work.
Watch the videos for it, Kotelnikov, and the GML 8900 honestly. Kotelnikov is cleaner and more consistent across samples rates and settings. It just behaves differently from the MDWDRC2 because it's logarithmic, has RMS + Peak detectors, and attack and release aren't single capacitor value so you don't have to adjust it constantly to not make it obvious sometimes but you cannot replace automation with it wholesale sometimes or get the crazy room pump as easily. Kotelnikov is better on drums easily though. Kotelnikov GE has some really good presets but you'll need to tweak them to fit the material
MDWDRC2:
GML 8900:
Kotelnikov:
Once you know how to set a dual detector compressor with a peak-crest or averaging control you can use any of them. Weiss DS1 is the other big one itb along with the Oxford Dynamics (dynamics multi-effect with 4 detectors and only one vca ultimately controlling the audio at a time) then there's Aphex Compellor and a few compressors that try to determine the peak crest for you like Presswerk's Adapt knob and the Dangerous Compressor's Smart Dynamics button.
On vocals that don't need to be radically dirtied up, I use Oxford Dynamics, then if they need to be automated, I will use MDWDRC2 to speed that up set a bit slower than I would as a compressor, and then on the vocal bus I will use Kotelnikov GE for iron control of them as a whole in the depth of the stereo image. Kotelnikov GE can massage the individual vocal track but often I want one of the detectors to be a sledgehammer and Oxford Dynamics gives me that power while in MDWDRC2 they can have different "attack" but share the same ratio so your leveling and your peak shaving have the same ratio on Kotelnikov, MDWDRC2, and Weiss DS1.
Weiss is cool though because it has unique behaviors and you can ride it up into the limiter and then lower the output or fader similar to good old Waves Renaissance Compressor when light turns red but better. The old Waves stuff (Renaissance Maxx, Vocal Rider, and MV2) is still cool too unlike the awful CLA plugs.
I'm basically using the MDWDRC2 as a more controllable Waves Vocal Rider and Ren Axx tbh. I'm not going to say better, it's just more controllable, operates differently, and can modulate the volume faster and do way more. You can shove it on drums and it still sounds good. It's not some multi-rate thing like the Weiss and Tokyo Dawn dynamics processors that have working faster attacks that don't misfire and seem to switch between attack and release more accurately with the signal. Those hug the signal better and Kotelnikov misfires less and has noticeably more program dependency but behave entirely differently because they are designed differently but all have similar controls compared to more conventional compressors.
Thanks Dan! I'm going to dig into all this and report back, I appreciate you taking the time to post it. Kotelnikov has been my go to in that role and it has been very impressive. I need to try Weiss more as so far I've only used in on mastering projects, never any individual tracks in a mix. |
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Post by Dan on Mar 14, 2024 11:34:09 GMT -6
You have to set it by ear. The quality of the detector varies across sample rates, it has two averaging detectors set by default to rms and root mean cube, and release is linear, not log so you need to use the soft knee, peak detector, and release override to not have it pump or hold down the audio at times. Lookahead doesn't seem to smooth the attack so I would turn it off. BS1770 filter depends on what you're compressing but I keep it on for bus work.
Watch the videos for it, Kotelnikov, and the GML 8900 honestly. Kotelnikov is cleaner and more consistent across samples rates and settings. It just behaves differently from the MDWDRC2 because it's logarithmic, has RMS + Peak detectors, and attack and release aren't single capacitor value so you don't have to adjust it constantly to not make it obvious sometimes but you cannot replace automation with it wholesale sometimes or get the crazy room pump as easily. Kotelnikov is better on drums easily though. Kotelnikov GE has some really good presets but you'll need to tweak them to fit the material
MDWDRC2:
GML 8900:
Kotelnikov:
Once you know how to set a dual detector compressor with a peak-crest or averaging control you can use any of them. Weiss DS1 is the other big one itb along with the Oxford Dynamics (dynamics multi-effect with 4 detectors and only one vca ultimately controlling the audio at a time) then there's Aphex Compellor and a few compressors that try to determine the peak crest for you like Presswerk's Adapt knob and the Dangerous Compressor's Smart Dynamics button.
On vocals that don't need to be radically dirtied up, I use Oxford Dynamics, then if they need to be automated, I will use MDWDRC2 to speed that up set a bit slower than I would as a compressor, and then on the vocal bus I will use Kotelnikov GE for iron control of them as a whole in the depth of the stereo image. Kotelnikov GE can massage the individual vocal track but often I want one of the detectors to be a sledgehammer and Oxford Dynamics gives me that power while in MDWDRC2 they can have different "attack" but share the same ratio so your leveling and your peak shaving have the same ratio on Kotelnikov, MDWDRC2, and Weiss DS1.
Weiss is cool though because it has unique behaviors and you can ride it up into the limiter and then lower the output or fader similar to good old Waves Renaissance Compressor when light turns red but better. The old Waves stuff (Renaissance Maxx, Vocal Rider, and MV2) is still cool too unlike the awful CLA plugs.
I'm basically using the MDWDRC2 as a more controllable Waves Vocal Rider and Ren Axx tbh. I'm not going to say better, it's just more controllable, operates differently, and can modulate the volume faster and do way more. You can shove it on drums and it still sounds good. It's not some multi-rate thing like the Weiss and Tokyo Dawn dynamics processors that have working faster attacks that don't misfire and seem to switch between attack and release more accurately with the signal. Those hug the signal better and Kotelnikov misfires less and has noticeably more program dependency but behave entirely differently because they are designed differently but all have similar controls compared to more conventional compressors.
Thanks Dan! I'm going to dig into all this and report back, I appreciate you taking the time to post it. Kotelnikov has been my go to in that role and it has been very impressive. I need to try Weiss more as so far I've only used in on mastering projects, never any individual tracks in a mix. They behave entirely differently despite having similar controls. Kotelnikov has a logarithmic release while MDWRC2 is linear. They both detect in the logarithmic domain like how humans hear. Logarithmic release is more natural but this means the speed changes so the behavior of the compressor cannot be constant. 3 db of gain reduction will sound different than 10 db of gain reduction with the same attack settings. MDWDRC2 will keep the release linear, so the sound can be more obvious but also more consistent at deeper gain reductions, and you must use the secondary detector and release override to speed it up. MDWDRC2 release does change though when you start heading towards 20 db or more of gain reduction which i guess is from it's rms detection. It becomes less linear sounding and sounds quite good but has a sound versus lower amounts of gain reduction and it does seem to hug the material. I figured this out with a stop watch and a snare.
Kotelnikov has the logarithmic release with the excellent peak detector on top of it so it can sound much more natural on some sources. Drums, MDWDRC2 either sounds like the best thing ever or it sounds wrong and you have to fight with it and gates to get the sound you want.
history diatribe. Earlier compressors are linear and use feedback and exponential time constants to make the action worthwhile. dbx 160 was the first to have a consistent logarithmic response to voltage and has an rms detector to compress the sound based on the power of the signal regardless of phase (important for noise reduction circuits) but has a limited sidechain so it doesn't really offer more control than what came before because you're still just doing a tiny bit off or exploiting sweet spots in the amount of gain reduction from where it happens to be more program dependent. The blackmer rms detectors were built, they worked, and it was years before they could prove how and why they worked mathematically. www.uaudio.com/webzine/2008/march/index2.htmlthe aphex gear and drawmer auto compressors went much further than this and some modern gear goes even further like Crane Song and Dangerous but most of it is just some hacky clone of older equipment or includes switches that should not be made available to the user like a linear/log, peak/rms, or feedforward/feedback switch or whatever the hell the unisum sub panel is that lets you turn it into a distressor or smooth the signal out so it does nothing at all which is how a lot of people use the DS1 with its lookahead ("preview") that's just a delay and a hold ("release delay") unlike Waves' pioneered modern digital approach to ramp the attack for the length of the lookahead, so tends to sound awful if preview is cranked with a fast attack and a long preview means you need a long release delay, which will hold down further notes or transients. Otherwise it will release prematurely. Or they set it aggressively with a huge preview, equivalent hold, and fast attack so it inadvertently distorts what comes before and after they want to compress. The same is true with the MDWDRC2 if they are doing something if you just use the main detector at hardly any gain reduction at slow release. It's not doing anything but slowly modulating the signal slightly like wiggling a fader but since attack is not totally smoothed out to slowly happen long before the event, it's not doing it. The lookahead I guess is just a delay to attack prematurely. It also might be feeding more samples into the RMS integrator or doing some sort of weighting. I don't know but it doesn't sound stupid like a long delay with a long hold and by long, I mean anything approaching a millisecond sounds like a far too long lookahead to me and starts sounding stupid on a compressor (it's not a gate) but on the Oxford Dynamics compressor, the hold isn't a hold and just scales the release.
The modern digital stuff is insanely complex under the hood. Kotelnikov has crazy under the hood attack/release program dependencies with optional speed up or speed down. Powair from Sound Radix even adjusts the lookahead time to what frequency triggers the compressor like the dbx/THAT non-linear timing circuits, Drawmers, and API 525 but much smoother sounding overall. It doesn't let you cleave into the audio but still has a sound.
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ericn
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Post by ericn on Mar 14, 2024 12:16:16 GMT -6
With a cleanish comp one of the tricks is to use distortion after the comp.
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Post by poppaflavor on Mar 16, 2024 23:30:08 GMT -6
With a cleanish comp one of the tricks is to use distortion after the comp. Could you help me understand that? It's not as intuitive for me to understand as EQ/Comp ordering. Is there something detrimental that happens when compressing saturated material or a benefit to hitting the saturator at more even level? |
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ericn
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Post by ericn on Mar 17, 2024 8:43:33 GMT -6
With a cleanish comp one of the tricks is to use distortion after the comp. Could you help me understand that? It's not as intuitive for me to understand as EQ/Comp ordering. Is there something detrimental that happens when compressing saturated material or a benefit to hitting the saturator at more even level? One of things to remember is compression isn’t just bring down peaks it also brings up lower level signals, including distortion / saturation, so by reversing the order you get a different tone. |
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Post by poppaflavor on Mar 17, 2024 13:46:12 GMT -6
Could you help me understand that? It's not as intuitive for me to understand as EQ/Comp ordering. Is there something detrimental that happens when compressing saturated material or a benefit to hitting the saturator at more even level? One of things to remember is compression isn’t just bring down peaks it also brings up lower level signals, including distortion / saturation, so by reversing the order you get a different tone. Cool thank you for the perspective, that clarified things. It's prompted a few other thoughts and a follow-up question... If I were clipping to remove the tips of some pokey transients on a track then I'd imagine that the saturation only manifests around the transient when the clipping occurs. Low level signals aren't saturated in this example. In this case the elevation of the low level signals by the compressor isn't generally a problem since those low level signals aren't saturated? So is the issue of saturation before compression more of a concern when the saturation is prevalent throughout the track rather than being restricted to just the transients (for example by clipping)? I guess I'm asking if saturation from clipping solely at the transients might be more amenable to downstream compression than is saturation throughout the track including at the low level portions. |
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