In this graph a 45o line represents equal input and output levels, ie no compression (1:1) ratio. A fast attack means that the full amount of compression kicks in almost immediately. Resonance5. This problem can be overcome by using a multiband compressor, which splits the signal into different frequency ranges, and compresses them individually. Would you mind playing us a kick from a track works for you and we'll dissect it? I also have a DBX 160x. If the ratio is set at 2:1 the signal abovethe threshold is reduced to half its original, if the ratio … Logic Pro 10.6 100 - What New in Logic Pro 10.6 Logic Pro 10.6 100 Logic Pro 10.6 100 - What New in Logic Pro 10.6 ... You want to gently compress the sound a few times in a row, rather than aggressively compress it once. The aim of a compressor in recording is to reduce the range of dynamics of an audio signal. If you are using compression on a vocalist, ask them, Use your score symbols to trigger articulations. There’s no “right” or “wrong” way to use a compressor; however, there should always be a reason when using one. The graph can be seen as the thigh, knee and calf of a leg: There are often two more controls on a compressor, ATTACK and RELEASE. The bass is the foundation of the entire mix. Compression is a technique used by many producers and engineers. Just 2-3dB of gain reduction is normally enough to add a bit of glue to the low end. Any parts of the signal louder than a certain THRESHOLD are reduced. Although the kick is one sound, it contains three 3 elements: boom, smack and the click. The grooves of a vinyl record can only cope with so much level until the needle jumps. on radio or on compilation albums. As you use compression, you will notice a trend and things tend to be the same from session to session. If there are sudden very loud peaks such as brass stabs, the compressor will lower the whole track at that point, with the result that although you may get an overall levelling of dynamics and increased loudness, the bass line will dip at this point and lose its flow. Clearing Room For The Kick. It can be useful to compress single tracks of a multitrack recording to avoid quiet words of a vocal, or quiet notes of a solo instrument getting swamped by the backing. 808 mixing is particularly important for the radio. In Logic you just clik on the box that says Side Chain and select the kick drum track. In this tutorial I will be discussing the use of compression with a kick drum. The best settings are found by trial and error, but a good starting point is a medium to fast such as 100-200 ms. With a slower attack, the compression gradually kicks in. Or, in other words, get the most "knock" from the peak level of your kick. You can achieve the same gain reduction by a high ratio and a high threshold as you can with a low ratio and a low threshold: As you can see from the above, the amount of compression with 7:1 ratio and high threshold can be similar to the amount of compression with a 2:1 ratio and lower threshold, and is actually the same at one point. The amount of reduction is relative to the level of the signal and expressed as a RATIO. Tip 2 – Compress the Kick and Bass Together. To do this, simply insert your compressor on the bass, and use a bus to send your kick drum signal into the sidechain input. Any parts of the signal louder than a certain THRESHOLD are reduced. Then gradually speed up attack until it gets noticeable and back it off slightly. Here are two example’s of compression on your kick drum: one, a more subtle effect and the other is more of a in your face hard hitting kick. Low thresholds and high ratios give you more gain reduction, i.e. All you need in your home studio is a four band eq to start shaping the kick drum sound of your dreams! The aim of a compressor in recording is to reduce the range of dynamics of an audio signal. This effectively brings the loud bits back to their original level, but at the same time brings the quiet bits up to a level higher than they were originally, with the end result of reduced dynamic range and higher overall average level. Comment with your compression recipes for your kick drum. In the graphs above, compression occurs exactly as the signal hits the threshold. Some compressors gradually apply compression as the signal approaches and after it has crossed the threshold. Release: About 115 ms Gain: Adjust so that the output level matches the input level. This can sometimes cause distortion or have an adverse effect on the tone of an instrument or the amount of punch, especially bass drums. Start with a ratio of between 2:1 and 7:1, medium-fast attack and medium release then gradually lower the threshold until you get gain reduction of about 5 dB. The amount of reduction is relative to the level of the signal and expressed as a RATIO. Begin by setting the strength of compression you want – varying from a soft and subtle 1.4:1, through to harder-edged compression at 5:1 and almost limiting at 12:1. This is really a basic mistake to try to overcompress already treated kicks. By the end of this article, you’ll know the simple technique that the pros use to create solid (yet natural) sound Share Quote. (A) shows the signal with no compression. I then compress this using a CLA-2A compressor, especially when using the 808 as a kick drum. Kick drum. (NB if the ratio is set as high as possible, usually infinity:1, the signal above the threshold is reduced to practically the same as the threshold and is referred to as LIMITING. I'm looking to do this in Ableton. The signal starts just below the threshold at -11dB, then suddenly goes up to 0dB and back again. Having reduced the loud bits by a certain amount, you can then adjust the gain make up by the same amount. Other DAWs have similar ways to achieve the same thing. I will be using Logic’s stock compressor but this can translate to any compressor: Example # 1 – More subtle approach to compressing the kick: Subtle kick drum compression settings I will be using Logic’s stock compressor but this can translate to any compressor: Example # 1 – More subtle approach to compressing the kick: Example # 2 – More “in your face” approach: Here is a video demonstrating the two compression setting live on a kick drum. The next two pictures show what happens when a signal is is passed through the digital compressor in Apple Logic Pro, with a threshold of -10dB and a ratio of 2:1. Logic Pro’s compressor is your main tool for controlling dynamics as well as for effect. ... Big kicks might get more aggressive compression, where syncopated high hats are simply kept out of the red. Very often in pop music there is a bass line which is generally constant in level. 12th July 2011 #7. Many radio stations compress the output signal as very quiet passages of classical or acoustic music can become totally inaudible on car radios that have to compete with the car’s engine noise and the sounds of other traffic. This is an old trick for making the kick and bass sound tighter and more unified. You won’t believe how compression can dramatically change the sounds of your kick (for the better). I'm looking for the sound that is used in 808 house, like Claude VonStroke/Dirty Bird/Martin Bros. type stuff. Compressors work well on individual sounds, groups … 1 Review written. Sometimes there is a switch to change an input gain meter into a gain reduction (GR) meter. Compression is a technique used by many producers and engineers. I've read and watched a few "how to compress a kick drum" tutorials, but I still can't seem to get that boom that stands out in the mix. I set the compressor to compress the peaks of the signal by setting it to Peak. Begin by setting the strength of compression you want – varying from a soft and subtle 1.4:1, through to harder-edged compression at 5:1 and almost limiting at 12:1. We use cookies to ensure that we give you the best experience on our website. Setting the Threshold and Ratio on Logic Pro X’s Compressor is easy thanks to the reactive and visually-striking Gain Reduction Meter. Compression can help here. You can tell from this how much compression has been applied. With very dynamic music, once the peak level is set at a practical maximum, the low levels may well be close to the level of unwanted noise, e.g.
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