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Post by Oneiro on Aug 3, 2023 20:24:18 GMT -6
I tend to gate percussive stuff in parallel and then saturate/compress/manipulate the peaks that come through. It gives the impression of digging in or the medium reacting without too much other harmonic manipulation affecting the low level detail that often makes things feel "alive." I often prefer just compressing those peaks with a high ratio simply because it sounds better than a transient designer.
I also will split bands, solo and then just widen/flange/chorus whatever band I soloed in parallel - I'm sure there's some phase coherence cost at times but if it works and feels good, I won't get sued. Make a pseudo-Magnatone / rotary thing out of anything. It's really about imagination at the end of the day. The tools are as expressive as you are.
I see why people rip on parallel compression - Jack Joseph Puig was quite eloquent about it as far as using compression to make things breathe with each other and shaping the envelope of sounds and getting the whole mix in a rhythmic/counterpoint-driven sense of push and pull. I definitely think a lot of engineers still don't use compression to the fullest extent. Nearly every studio I go to, every compressor has the fastest release setting. Makes sense, do no harm and all that, but you're missing an opportunity to take a stand on the music. But I guess taking a stand in the face of convenience and covering your ass is a lost art anyway.
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Post by theshea on Aug 4, 2023 1:03:18 GMT -6
special effect in parallel for drums: tracking a Wurst signal, lo passing it heavily (you don‘t want cymbals), kinda gating it (i use transient designer and radically shorten the sustain) and than compressing it. i recently demoed the ssl mic listen comp and it sounds great on it. but a heavily pumping 1176 works as well.
mixing this in in parallel for certain parts sounds great.
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Post by robo on Aug 4, 2023 10:15:40 GMT -6
I have an “NYC” compression bus in my template, and it gets blended in all the time on drums, usually also for bass, sometimes vocals and solo instruments. It’s just 1176 fast/fast into Crave with a big smiley face.
It’s a quick, relatively harmless way to get some excitement and depth going.
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Post by Deleted on Aug 4, 2023 12:04:44 GMT -6
I tend to gate percussive stuff in parallel and then saturate/compress/manipulate the peaks that come through. It gives the impression of digging in or the medium reacting without too much other harmonic manipulation affecting the low level detail that often makes things feel "alive." I often prefer just compressing those peaks with a high ratio simply because it sounds better than a transient designer. I also will split bands, solo and then just widen/flange/chorus whatever band I soloed in parallel - I'm sure there's some phase coherence cost at times but if it works and feels good, I won't get sued. Make a pseudo-Magnatone / rotary thing out of anything. It's really about imagination at the end of the day. The tools are as expressive as you are. I see why people rip on parallel compression - Jack Joseph Puig was quite eloquent about it as far as using compression to make things breathe with each other and shaping the envelope of sounds and getting the whole mix in a rhythmic/counterpoint-driven sense of push and pull. I definitely think a lot of engineers still don't use compression to the fullest extent. Nearly every studio I go to, every compressor has the fastest release setting. Makes sense, do no harm and all that, but you're missing an opportunity to take a stand on the music. But I guess taking a stand in the face of convenience and covering your ass is a lost art anyway. the fastest possible release does harm by modulating lower, slower frequencies, producing distortion. They also will pump up noise, bleed, and low level content. Anything not a transient hitting some slow attack with fast release typical thing can have weird results. Most people don’t know how to use a compressor. That’s why the daking compressors are so good. Their fastest possible release not the auto is 500ms. They physically prevent the naive and the stupid from ruining their sound. Of course we live in an era of production where the primary purpose of a compressor is to RUIN the sound so nobody should be surprised that people who make poor sounding recordings keep the release at 50 or 100 ms rather than set it to the music. |
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Post by thehightenor on Aug 4, 2023 12:20:44 GMT -6
I tend to gate percussive stuff in parallel and then saturate/compress/manipulate the peaks that come through. It gives the impression of digging in or the medium reacting without too much other harmonic manipulation affecting the low level detail that often makes things feel "alive." I often prefer just compressing those peaks with a high ratio simply because it sounds better than a transient designer. I also will split bands, solo and then just widen/flange/chorus whatever band I soloed in parallel - I'm sure there's some phase coherence cost at times but if it works and feels good, I won't get sued. Make a pseudo-Magnatone / rotary thing out of anything. It's really about imagination at the end of the day. The tools are as expressive as you are. I see why people rip on parallel compression - Jack Joseph Puig was quite eloquent about it as far as using compression to make things breathe with each other and shaping the envelope of sounds and getting the whole mix in a rhythmic/counterpoint-driven sense of push and pull. I definitely think a lot of engineers still don't use compression to the fullest extent. Nearly every studio I go to, every compressor has the fastest release setting. Makes sense, do no harm and all that, but you're missing an opportunity to take a stand on the music. But I guess taking a stand in the face of convenience and covering your ass is a lost art anyway. Most people don’t know how to use a compressor. Dan, I like you a lot, you know enjoy most of your posts. But mate you sure take some extreme positions on stuff! "Most people" .... who's that my mum and my aunty Mable? "Most people" who create music know how to use a compressor, and a mic, etc etc etc and where to plug in the mains plug for their computer. I think it's a tad patronising to say "most people" when I very rarely come across anyone who creates music who doesn't know how to do the things I know how to do! Just saying. |
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Post by robo on Aug 4, 2023 12:44:23 GMT -6
I tend to gate percussive stuff in parallel and then saturate/compress/manipulate the peaks that come through. It gives the impression of digging in or the medium reacting without too much other harmonic manipulation affecting the low level detail that often makes things feel "alive." I often prefer just compressing those peaks with a high ratio simply because it sounds better than a transient designer. I also will split bands, solo and then just widen/flange/chorus whatever band I soloed in parallel - I'm sure there's some phase coherence cost at times but if it works and feels good, I won't get sued. Make a pseudo-Magnatone / rotary thing out of anything. It's really about imagination at the end of the day. The tools are as expressive as you are. I see why people rip on parallel compression - Jack Joseph Puig was quite eloquent about it as far as using compression to make things breathe with each other and shaping the envelope of sounds and getting the whole mix in a rhythmic/counterpoint-driven sense of push and pull. I definitely think a lot of engineers still don't use compression to the fullest extent. Nearly every studio I go to, every compressor has the fastest release setting. Makes sense, do no harm and all that, but you're missing an opportunity to take a stand on the music. But I guess taking a stand in the face of convenience and covering your ass is a lost art anyway. the fastest possible release does harm by modulating lower, slower frequencies, producing distortion. They also will pump up noise, bleed, and low level content. Anything not a transient hitting some slow attack with fast release typical thing can have weird results. Most people don’t know how to use a compressor. That’s why the daking compressors are so good. Their fastest possible release not the auto is 500ms. They physically prevent the naive and the stupid from ruining their sound. Of course we live in an era of production where the primary purpose of a compressor is to RUIN the sound so nobody should be surprised that people who make poor sounding recordings keep the release at 50 or 100 ms rather than set it to the music. I agree that musical, groove-enhancing compression is something of a lost art. But since the mid-60’s, that’s not all a compressor is good for. Distortion, including the subtle kind you get from fast-release compression, can be very useful when used tastefully. If it’s not your thing that’s cool, but respect that it is a useful tool for some of us that know what we’re doing. |
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Post by johneppstein on Aug 5, 2023 17:13:16 GMT -6
Seems weird to me. I bet most are using a blend knob wet/dry so they are accomplishing the same thing? I’ve known a lot of sound guys and they’d often tell me simple recipes for success, and leave out the important details so that it’s impossible to recreate. One example that tortured me while learning: always use top/bottom snare mics! They never mentioned invert polarity and why you ALWAYS have to. Same with bass DI and mic I use neither top nor bottom snare mics. I use one KM84 in the middle of the side of the drum, a couple inches off from the vent hole. You use the mic position to get the balance between top and bottom, and in that position your KM-84 is not likely to get whacked. And there's no phase problem. |
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