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As you dial in your threshold, watch your compressor’s meter for something in that range.
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This technique is also great at getting some really intense compression. Hack #2: Beef Up Your Tone with Aggressive Compression Bring the gain up until it’s about as loud as it was before.ĭon’t feel like you need to stick with these exact settings, they’re just a starting point. Gain : You want it to be about as loud as it is with the compressor turned off.This bpm to milliseconds calculator will help you hone in on a good release time It also helps if the release is timed to the song’s tempo. Release Time : Auto or slow (above 100ms).Attack Time : Fast for thickness (2ms or less), slow for punchiness (10ms or more) When in doubt, stick with something on the slow side.Pay attention to your meter! For subtle compression you’ll want 3-5 dB’s of gain reduction. Threshold : As low as possible in most cases, with the compressor releasing towards the end of sustained notes.Here are some solid settings to start with. Parallel compression is perfect for controlling the dynamics of a sound without making it sound unnatural. Hack #1: Natural Sounding Dynamic Control The settings you’d choose to glue tracks together are totally different than the ones you’d use for dynamic control. So how you set a compressor depends on what you’re trying to do. There are 3 different ways to use a compressor. This is where you’ll actually set the compressor and make sure it sounds nice. Turn up the send’s volume and you should have two different tracks playing the same sound! If you aren’t sure how aux tracks work, google your DAW’s name followed by “create aux track.” That should help you find what you need! Make sure your send’s output is set as your new aux track. Next, go to the audio track you’re trying to duplicate. In other words, aux tracks play an exact copy of other channels in your DAW. Instead you send the audio from another channel to them. Then, you’ll want to create an “aux channel” in your DAW.Īux tracks are a lot like audio tracks, but you can’t record to them. This kick drum sounds a little wimpy, so I’ll beef it up with some parallel compression. Whether you want natural sounding compression or obvious, energetic pumping, parallel compression is an incredible mixing tool.įirst things first, you’ll need a track that you want to compress. If you really crushing heavy parallel compression and mix it in lightly, then you can really highlight a track without making it too loud. It’s also really helpful if you want to make an instrument punch through a mix. In other words, it’s great at natural compression. With parallel compression you can easily control the dynamics of an instrument without making it sound like it’s been compressed.
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Tons of mixing engineers love parallel compression. Both of them are playing the same sound, but one’s compressed and the other isn’t. So you end up with two different channels. With parallel compression, you duplicate a sound and only compress the duplicated version. The old school way of compression is great, but sometimes you don’t want the whole thing to sound compressed. Parallel compression works a little differently. How do you usually compress an instrument? Slap a compressor on it, right? You don’t need to enter your email address or anything.īut if you just want to learn about Parallel Compression specifically, keep reading. Until now, everyone has been teaching production totally backward. We put together a brief training that covers a totally new approach to music production. I’m guessing you’re here because you want to make your mixes sound professional. Get industry-quality every time (steal this framework) One Last Tip: Make Any Instrument Sound Great in the Mix.Hack #8: The Secret “Rear Bus” Technique.Hack #4: Keep Your Mix Nice and Balanced.Hack #2: Beef Up Your Tone with Aggressive Compression.Hack #1: Natural Sounding Dynamic Control.
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