How The Pros Use Compression on Instruments and Mixes
ฝัง
- เผยแพร่เมื่อ 3 มิ.ย. 2024
- Secrets of How the Pros use Compression. In this video I discuss how compression works: Ratio, Threshold, Attack, Release, Hard-Knee, Soft Knee, Gain Reduction. What are and How to use the Plugin and Hardware Versions of:
Optical Compressors - like the LA2A, LA3A, Shadow Hills Mastering Compressor.Tube Tech CL1B
FET Compressors - Universal Audio 1176, Purple Audio MC77, Universal Audio 1176 Blue Stripe, Universal Audio 1178
VCA Compressors - SSL G Series, Alan Smart C2, Neve 33609
Variable MU - Fairchild 660 and 670, Manley Variable MU. Altec 436C,
How To Compress and What to Use - Kick Drum, Snare, Toms, Overheads, Room Mic and Drum Buss Compression.
I also provide examples of using compression plugins in individual Instruments and the Mix Buss.
The song I use at the end is called "Live This Lie" that I wrote with my friend and Australian DJ TyDi
BECOME A PATRON → bit.ly/2tqdPLG
THE BEATO EAR TRAINING PROGRAM: beatoeartraining.com/
BUY THE BEATO BOOK HERE → bit.ly/2uTQFlo
SUBSCRIBE HERE → bit.ly/2eEs9gX
--------------------------------------
My Links to Follow:
TH-cam - / rickbeato
Artist Facebook - / rickbeatoproduction
Personal Facebook - / rick.beato.1
Instagram - / rickbeato1
Follow On Twitter - @rickbeato
www.nuryl.com - เพลง
For those non-musicians that have written to me you can donate to my channel through this link on my website rickbeato.com/pages/donate
Or you can become a member of the Beato Club. My Beato Club is exactly like Patreon.
You explained it very well and in electronic music, from chill, electro pop to dance, Edm to trap, house, techno etc. will the same rules be applied to compression?
How do you feel about the Logic Pro Compressors? Do I need to get a different software compressor if all I have is Logic Pro?
@@ilo0076 I’m not on Beato’s level by any means, but the concepts here absolutely apply across the board in general. Like his comments about the LA2A treating low end frequencies better than others. Instead of taking notes word for word, I just made notes on problems and solutions. (Like the 1176 having ultra fast atk & release times) regardless of what sounds he uses it on.
@@HAJensen19987 Try something interesting: record without compression. Too many young audio engineers cut themselves short by jumping straight to the tools of pros who have spent years learning how to use them. The best thing you can do is get Nick's ear training book, learn to identify frequencies, and move on from there into other tools. Once you can clearly/consistently identify by frequency you'll already be more than halfway there.
I hope that helped.
Dr. DT Hazelrig (Ph.D.)
I feel like I should be paying you right now... lol
defn 0:18
ratios 1:00
attack 4:06
release 7:40
mix bus 9:14
types of 11:19
drum plugins 20:53
bass plugins 23:32
guitars plugins 24:00
piano plugins 25:07
vocal plugins 26:01
drum buss 26:41
...this is for me
Absolute saint
thanks my man, I play with the compression all day and listen and listen some more
with the ratio at 1:00 you have no compression... :)
@@MaxCarola I boorun about 3 or 4 to1 ratio
And me.
Hi Rick, We studied together at Berklee. I graduated 1984. You continue to shine and bring deep knowledge to us all. Thanks for the great lesson.
wholesome comment! you doing audio too?
Genius...
Did you go to Daddy’s Junky Music.
@@thedevilsadvocate5210 one of us!
God loves you all! The Father sent the Son to die for you and your sins so that you could experience freedom to the fullest! Believe in Christ's death and resurrection (which sealed the work done on the cross) for your salvation and the forgiveness of sins! Amen
The best, most comprehensive explanation of compression on youtube. PERIOD.
period PERIODperiod
Lal lolita let ll send lol and love l
KtM great information thank you
The real question, do I need a compressor pedal?
@@harrysachs2274 if you use single coils? Absolutely. It tames the shrill singlecoils, and increases your output. Humbuckers are already compressed to death, so it's optional.
This video will teach you in 30 minutes what took you 30 years to hardly figure out and all without confusion. Yous just saved yourself a grip of money as well. Beato is the 6 blade knife and a highly accomplished musician/guitarist as well. He is officially uncle Rick.
TRUTH!
It'll be cool if he also takes me out for an intergalactic space adventure and let me have my way with Jessica.
If you took 30 years to learn that give it up
I feel like a compressor pedal is more for live use anyway, i think you can get better results with most DAWs
@@thedevilsadvocate5210 LMAO, RIGHT!!!!
I know this is an old video but man I feel like I just took a whole college course for free! Thank you Rick! This filled in so many holes in my knowledge of compression that I I actually feel really confident and excited to start experimenting with different compressors in different situations now
I took notes the whole time. haha!
Notes to self:
Dynamic range / loudness is a function of music that needs to be addressed at the mixing stage.
Gaining perspective on the loudness of your song:
A) use metering
check the LUFS , rms, perceived loudness
B) find a professionally mixed reference track and a b your mix with it on different systems
If your tracks are not loud enough, you obviously need to get them louder.
How do you make loud mixes?
First understand the relationship between dynamic range and loudness.
What is dynamic range ?
Dynamic range is the difference between the quietest and loudest parts of your track.
Digital Audio goes from - infinity to 0 (loudest).
When you cross 0 you get distortion.
By limiting your audio to -0.1 you can then just jack up the volume and get max loudness without distorting right ?
Wrong.
When you start trying to make it louder you will start to lose parts of your Audio. The transients will go first, so your drums ah start sound Lakka doo doo.
So how do you gain loudness without losing parts of your Audio or distorting?
You could :
- Lower the volume of your transients
- lower the bass
- compact the sound by reducing the dynamic range and then raising the volume
That’s where compression comes in.
It’s a tool you can use as a function Of compacting Audio aka reducing dynamic range.
But how does reducing dynamic range help make a track louder? How does compacting Audio and then doing gain compensation help?
It helps because you get more perceived loudness while taking up less volume, so now you are further away from the ceiling but it sounds just as loud. Now when you come to limit you can raise it even louder.
It’s like being space efficient.
- Notes to self to be continued
Excellent!
Wow
Amazing 🙏
Nice. I would add that there are more goals that you can achieve with compression, not only loudness. You can obtain more definition or sustain, as you are able to enhance the back ends, or, as it is said on the video, you make the sound more even. All of this at the cost of reducing dynamic range, which in the other hand could be valuable thing that you are losing, thats why the dynamics of piano and forte exist.
This is dope
I had my DAW open on one screen and had this video playing on another screen. In the course of this 30-minute video, I was able to make a mix sound so much better using the information in this video. This is the definitive guide to compression and it helped me make sense of it in a way that nobody else has been able to. Rick, you are a national treasure and you must be protected at all costs.
Fat back end was my high school nickname.
Made me lol, well played.
lmao
I just learned I have no idea what Im doing!
havick104 I love it when that happens... means my life’s about to get easier.
Yea im on it too :)
Hahahahahah! SAME
Emanuel Walker Was, yeah. Might be again someday if this whole “software dev” thing doesn’t work out.
Welcome to the world of mixing I guess
So many people I tried to learn from treated mixing and mastering like some elite practice and not like science where you just have to start with fundamentals and then learn step by step - The way Rick gives so many people insight is remarkable - I love what you are doing for the whole music community Rick ! Thank you so much
@@jsullivan2112 Exactly. :-) Well said. That is the truth.
Well, quite honestly you have to have an ear for it to start with. It's not _all_ eyeball science, there's at least _some_ biology. It can be trained to some degree, but just like athletics or any other endeavor some will just have a natural inclination, while others who work twice as hard won't get as desirable results.
The ear is necessary because there are so many anomalies with different recording rooms, mixing rooms, microphones, drum heads, strings, vocal cords etc, etc, etc...
Fortunately AI is not far off from giving _anyone_ the ability to hum out-of-tune into their phone and have an algorithm assemble a _Red Book_ recording, replete with brilliant lyrics, astonishing performance, original composition and a 32 piece philharmonic orchestra.
@@maxi-me Hard disagree. "It can be trained to some degree"-no, it can be trained to an intensely refined degree. And this isn't sport, there is no objective better, or objective winner. Your ears are uniquely yours, your preferences are uniquely yours and those facts makes YOU doing the work objectively valuable.
i cant imagine im learning from this for free. Every Audio Engineer needs to Pay for this Knowledge,
OTOH, you can join the Beato club! Guilt - solved!
This is the only compression tutorial on TH-cam I’ve ever felt like I’ve gotten something out of
Me as well!!!!
This is the best overview I have ever seen on compression! The real world examples from classic songs is fantastic. The graphics thrown in to make the point more clear is fantastic. The discussion on current plug in offerings is fantastic. Rick thank you so much man! You have probably heard this before but you have a gift of communication as you break down complicated subjects. I am so happy (and lucky!) to know that you share openly. THANK YOU SO MUCH!
totally agree with you!
Phil Williams Rick is D’Man!!!!
Best music channel on TH-cam.
Missclicked?
Ross Kemp .
....without doubt...very detailed and oddly accessible given the complexity of much of the information.
don't know about what might be best channel, but for me definitely one of the most informative channels regarding music production topics. Keep up the good work, Rick! and a BIG THANK YOU!!
What was it like being in the SAS?
Beato 2020
Even in audio engineering we did not get this detailed into compression. I love this
When Rick is "presenting" (like he's on TV) he's definitely very cool. But then there are the moments when he's just so into what he's explaining, it's like he forgets there's a big audience, and it's as if he's simply talking to you, just you, about really specific recording techniques that you're totally interested in. That's when he's truly great. Part teenager going, "oh my god that song sounds amazing", part professor saying, "these are the compressor settings they used on the mix bus". Incredible!
Rick, you are a treasured font of knowledge! We are very blessed and privileged to have you sharing on this platform.
I am continually stunned by Rick’s channel. The knowledge he shares, the information he has in his head...it’s just awesome. I can’t come here without learning heaps. Thank you a thousand times Rick. Always grateful for anything you wish to share.
Not only the font of knowledge. but the way he explains... best teacher ever.
he makes these explanations seem so easy and obvious, probably what I love most about him :)
That Neve brings out the sparkle a bit more. The Glue pulls everything in tight with almost no color.
Thank you -- no kidding, I took a college course in recording and it was nowhere near as potent as this. I especially appreciate the comparisons of waveforms (the way they look compressed and not compressed... I'm a visual learner) and citing well-known examples like Led Zeppelin.
Can’t imagine this is the first time this has been said on Rick’s comments sections.. but this legend has forgotten more about music theory, music production and likely about life than I will probably ever know.
I remember looking for something like this when i first started learning about compression, and found it ridiculous that nobody had explained things in such detail! Happy that up and coming musicians can learn this stuff from your videos.
Facts. I love how he threw in the examples top to really drive the point home and show it in practice. Rick you rock
This is the only cohesive explanation of compression I've ever heard. Thanks, Rick!
I could listen to you all day. If only my music teacher at school had this delivery….
You taught me more here in 9 minutes than I learned in 9 months of schooling
I love how many artists hoping to come up all come together watching these type of videos, all of us in the comment section should start a music distribution company promoting each other
finally somebody i understand
I know right!?
Hahaha ! Exactly
I learnt more in 30mins about compression than I did 2 years in audio engineering school
I would really like to disagree with you but I never get a crack at you because you’re spot on every time...!
This guy knows how to explain things in a way that finally makes sense to me.
Yo. TH-cam was on auto play. I was watching thug life and fell asleep in front of the tv. I woke up and your vid was on. I understand comprehension so much better now. I have watch a few (heaps) of vids on the subject but yours is the best. I have watched this 3 times and have taken notes. Thank you. Me finding this vid was meant to be. So glad I didn’t sleep through the whole thing. Lol. Keep up the good work.
Comprehension 😁
Years ago (in 1979) I worked at a cassette tape duplicating facility in ATL on Cheshire Bridge Rd. The first step was to take the customers “master” tape and create a bin loop master. The “customer’s master” could be anything from a crappy cassette to a 30ips 1/2” tape. There were 2 Altec 604E loudspeakers, 2 Fairchild compressors and 2 Pultecs. With little experience as a real studio rat, I just assumed these were things everyone had. It wasn’t until later I realized how coveted these pieces were. For good reason too. I could make a decent bin loop master from anything. Very enlightening
Best compressor video on TH-cam by far.
This video needs to be far more popular! I wish these videos were on the same channel as produce like a pro. Combination of easy to learn, straight-forward, non-time wasted, white board learning of music/production and then produce like a pro's interviews with the top mixing and mastering engineers in the world. Love these two channels.
Attack is the length of time it takes a compressor to apply roughly two-thirds of the targeted amount of gain reduction.
I say ‘roughly two-thirds’ because there is no agreed-upon, industry-accepted standard for what this spec actually is. Yes, you read that right: no two compressor designers will agree on exactly how to define, and therefore measure, attack. My definition above is within the ballpark of most thinking, so I’m running with it.
To understand this definition of attack better, you need to get some basics of compression established first. Let’s say your compressor is set with a threshold of -10dB and a ratio of 3:1. If you feed this compressor a signal at -11dB, nothing happens because the signal is lower than the -10dB threshold.
But if that signal jumps to -1dB things get interesting. Most notably, the instant the signal reaches -10dB the compressor begins attacking it. There is no delay whatsoever in this response, which belies the myth that attack is the time it takes a compressor to respond once a signal crosses the threshold.
With a -1dB signal and a -10dB threshold, the signal is 9dB over the threshold. Our 3:1 ratio means that for every 3dB coming in over threshold, the comp wants to allow 1dB out the backside. Since our example has a signal 9dB over the threshold, our hypothetical 3:1 comp wants to compress those incoming 9dB into 3dB at the output, which would require 6dB of gain reduction.
Given that attack is the time it takes a compressor to apply roughly 2/3 of the targeted gain reduction, the attack in this case indicates how fast the comp will apply the first 4dB of the target 6dB of reduction.
If you don’t follow the math of this illustration, don’t worry. For now it’s enough to know that the compressor starts applying gain reduction as soon as the signal crosses the threshold. Which means that attack is not a delay before action, nor is it even a measurement of time per se; instead, it is a rate, a measurement of the speed at which the process of gain reduction is occurring.
Release is the time it takes a compressor to restore two-thirds of the reduced gain to the compressed signal.
‘Restoring reduced gain’ is a very carefully chosen set of words.
I characterised release in those terms because it’s useful to think of compression as a two-way street.
When a compressor attacks, it is applying gain reduction - it is lowering the signal level.
But gain reduction is only half the picture, because for every dB of gain a compressor takes away, at some point it has to put it back. And that process - let’s call it ‘gain restoration’ - is the business of release. The faster your release, the faster the compressor restores the gain it took away when attacking.
So what do we know now, at least in a purely academic way?
Attack is the length of time it takes a compressor to apply roughly two-thirds of the targeted gain reduction.
Release is the length of time it takes a compressor to restore roughly two-thirds of that reduced gain.
This gives us a good grounding to tackle more compression myths.
If you’ve been paying attention, it should already be obvious why this statement is false.
The explanation lies in the fact that aside from generating ancillary effects like distortion and colouration from transformers and tubes, attacking and releasing a signal are the only two things a compressor can do.
Put a little differently: any time the gain reduction meter on a compressor is moving, it is either attacking or releasing the signal.
Fascinating! Taking it a step further:
Any time the gain reduction meter is increasing (i.e., the comp is reducing the gain of the signal), the compressor is attacking.
Any time the gain reduction meter is decreasing (i.e., the comp is restoring the gain of the signal), the compressor is releasing.
So while the well-intentioned myth-spreaders out there would have you believe that attack and release are only relevant when a signal crosses the threshold - attack on the way up and release on the way down - what I am telling you is that nothing could be further from the truth. Instead, once a signal is over the threshold, both attack and release are constantly at play.
G.S.
That was effin' awesome to read. "There's no delay in that response whatsoever"
That's the key. Most people think the attack time is how long the comp waits before doing it's thing. But i observed visually on GR meters that the pin itself moves faster or slower when you set the attack/release times to your taste.
Absolutely vital point. You rock.
Thanks. Makes sense when you think about analog comps who cant measure time discretly but instead control the speed of attack/release with variable resistors.
Very well explained! Thanks a lot for the effort you put into this fairly long youtube comment.
Phew....Im lost. I'll need to read this a few times to try get this. I did indeed always assume a fast attack simply meant how quickly the comp attacked the signal "once it crossed the threshold. I'd always imagined it like a security dog and a line in the sand. Security are well aware you're trespassing and crossed the line. But they might give a head start or attack you immediately. Depending on the attack settings.
Very nice explanation of a concept that is so fundamental to recording and live sound but so little understood. I had all the classic compressors of the day in my 3 studio complex and each had its own transfer functions that had to be learned by experience. But in those days a top album studio had no beginners in them or jacks of all trades, it was a real team effort in each studio so by the time a promising Second got a solo as first they had been working daily for several years with top producers and engineers. A lot of that knowledge has been lost or distorted by the home recording social media mythology and beginners teaching other beginners. I am not even in recording anymore, after the death of the record industry in the 90s, all the great independent album studios closed due to lower numbers of major label releases and the drastic cut in what the labels would pay after all the labels were purchased by international corporations.
I started as an EE designing equipment but moved into recording by accident in the early 70s and continued into the early 90s when everything in radio, touring and recording collapsed with the new label policies. It is interesting that the gear we built or used as everyday hardware is still revered 50 years later. About the only hardware not sought are the plate reverbs, we had 6, plus live echo chamber tied into each control room patch bay. They are too big for most computer-based studios now I suppose.
Every once in a while I come back to this video, what a gem!
Came back to this video after two years of "making music" and I finally understand it. Well, what I mean is I understand part of it.
That part is, "Leave compression to the Pros. ;-)
literally 100% gold-plated raw studio knowledge on compression & production
it is hard to sum in words how stupid-lucky I feel to have this video available to learn from for free. LOL, this is just ridiculous tbh
thanks rick, just another fanboy here. you're helping make NICU's musical path come alive every day and I humbly thank you for it
Keep the production related videos coming Rick!! Amazing job!
Best "How to spell 'Spikes'" video on the internet.
No doubt this is the best tutorial on compression by a long shot!
Rick, thank you . I’ve been playing with this equipment of mine for over 20 years and you are the only person I was able to understand what was happening.. I move compressor knobs until I get the sound I like but never understanding why. Thank you again. Just to show your never too old to rock and roll I’m 73 and still learning
The Glue Sounded amazing every time, when activated during the bass and during the vocals. I mean like wow! What a difference!
Thank you Rick Beato. I am a disabled 🎸 player who records at home in Osgood Indiana on a Boss BR - 8 recording studio. I used to left-handed Mexican Fender Stratocaster and a few effects pedals of which the Wa wa pedal is my favorite.
I couldn't afford to go to a special school to learn the art of this craft. As much as I like it and believe in it, being on Social Security and disabled many things are out of my price range. So it is with deep gratitude for your time in this session they cost me absolutely nothing except for the time it takes to listen and pay attention. I have recorded these programs so that I can go back and refer to them as often as I need to. Thank you very much Rick Beato. You have even helped the lowest of musicians, so you are greatly appreciated. May God bless you and your family for the great work that you do.
Yep.. 30 years in 30 minutes.
The only video that properly explained compression that I have watched.
this lesson will become a classic thanks so much for this precious info
This is an incredibly useful video. Thanks for taking the time, and offering this wealth of knowledge to those of us that are interested in a better understanding of how these can be applied. Grateful! Cheers!!
This is a must have video. After all my years, finally an explanation that makes sense.
Poorly geared and illustrated but my God this man has nailed explaining everything about compression. Thank you.
The most articulate discussion/lesson on compression I’ve seen. Thank you Rick.
Amen to that!
So helpful - you're a great teacher. I'm a long-time musician getting into recording and you anticipate all my questions as they pop up. Really good pace and clarity - thank you!
As I'm learning, I have come back to he first 10 minutes of this video so many times. Just to kind of reset my brain for compression.
Thank You Rick. I am only 40, I grew Up Listening to Fleet Wood Mac and all those Harmonic Rich Musics, I can't Settle For anything less then that sound in my own recordings today.
Love the Neve at the end.
It totally blows away all the SSL for that song
Wait. You mean UAD ?
Truth
Rick is the best at teaching music
That’s the kind of video I wish was on YT in the beginning of my studies. Tks again Rick!
This guy makes the best videos if you're learning to mix
This is the first thing that’s ever helped me understand compression. Thanks Rick. Will be watching any further production tips you post.
the neve comp was really nice. going to get that one now by UA overlooked that one for too long. great video thanks for sharing will give your video to my interns for learning
For about a minute i was like Anthony Bourdain is alive and making compression videos. Great video BTW
#2 and #4 made the track sound more professional and Mello to the ears
also yes.. Multiband compression saves lives
quick question. is a multi-band Eq guitar pedal necessary in recording or not really?
That was one insane amount of information. Could have been stretched out on a whole semester. Very grateful for this RB 🙏🏻 ❤️
Thank you for this lesson! This alone has made a huge difference in my understanding of compression and how to apply it. Can’t thank you enough for taking the time to put this together! 🤘
That NEVE 33609 makes the song sound amazing.
Thanks so much, this is the best compression video I've been able to watch yet. Amazing! Keep up the great content and thanks again!
Hopefully you`re able to watch some that show how it is really used.
Hands down the best video on knowing how to use compression!
mixbustv has an awesome series on compression! You should definitely check it out if you didn't already.
Super random universe connection. At 8:32 when Rick talks about a bass note that tapers off too quick... he plays the note and just then the COMPRESSOR on my air conditioner kicked on and made the EXACT same bass tone!!!! LOL mind blown....
Dude , you are the god of music here in youtube.
I mis-read this as "Pro Secrets of *Compassion." I clicked immediately.
been to an audio crash course earlier this week and this video of Mr Beato reinforced my knowledge on the subject of music production in general. Thank you sir!
This is so great. What a time to be alive and recording.
Compression brings the Life in the instruments and vocals. It’s a studio trick to make different kinds of music louder.(Hip-Hop).
Man thanks a bunch! This is the first time I could actually really really hear the difference between before and after tracks most videos I watch my ear has not grown enough to notice.
This was absolutely the best explanation of the use of compressors and which ones are best suited for what situation!
this is the best video on Compression I have seen yet !
every video i've seen, the guy wants to sound super smart and doesn't make it intuitive.
thank you !
May I do a little constructive criticism : although TubeTech CL1 B is technically a optical compressor, it is lightning fast and its very wide range of settings puts it in a special category like the Distressor of compressors capable of mimicking several different types. I used it intensively in a studio that didn't have 1176s for tracking vocals, the only problem being that it is less forgiving than a 1176, wrong settings can produce very extreme comrpession ! Not for the faint hearted :-)
You are the man. Love the examples like led zeppelin, or the beatles. You give us an idea of sound not just numbers.
I've watched a lot of mixing videos and I've also watched a lot of Rick's video (what makes this song great, etc.) But from education perspective, this video is GOLD!
Good thing this popped up randomly in my feed. No way I could have found it since TH-cam banned the reverse chronological listing - for no good reason.
I watched this long ago and came back to it after using compression a little - a pedal and in Audacity.
It's worth the re-watch.
Loved how the Glue did just that, tightened everything up. Also, the Neve, and how it pushed everything through, giving it more Punch.
Great tutorial By the way. Thank You!!!
This cleared up a lot of questions that I still had not got a clue on.
Hi Rick, better later than never :) Slate is the worst in my view, SSL UAD best, Neve quite spacious nice and worm, clear winner SSL. UAD.
I now understand what I never really understood. Thanks Rick for bringing light to a dark art.
If I get to meet you one day, I’ll pay your dinner. This video is the greatest
Totally awesome. Love compressors.
If I ever became something in music... I'll be thanking you in every way possible.🙏
I really love that intro. Sad that TH-cam has kind of driven us all to drop intros.
I used to have a general understanding of compressors - to reduce the dynamic range. But with all the different types of compressors and variations for the differing instruments, that takes experience that I will likely will never get. Thanks for sharing your knowledge and experience with us.
Fantastic information! Thanks again Rick!
Rick, thank so much for this. The amount of knowledge you shared here is incredible.
you are the best there is Mr. Beato. So generous. it had my mix going from zero to hero in no time.
in the dance track demo i liked the most how Neve sounded
Wow, this is the best explanation of how compressors work that I've ever seen. I had an idea of how they work but you really dig in. Awesome.
Watching this while mixing and applying some of these tips to it and wow, this is great. Just got the Waves CLA-2A last night and it sounds fantastic on bass. Thanks for this video!
Thank you sooo much for this comprehensive compression compilation! Please keep posting recording tips and explanations. Your style is perfect for practical understanding.
Rick beato is literally a sage. Awesome stuff I’d love to see a whole series on various different professional uses for all the various standard mixing plug ins / essentials! That would be awesome, thanks again rick! You’ve been with me from my first key signature and chord construction, to producing and mixing in my own home studio on three instruments, and it’s literally all thanks to going over your material, and Adams Neely and few others,
If it weren’t for you guys, I’d never be able to express myself musically like I can now! So thank you all so much
Also, since I’ve been getting into this whole production thing,
Could you be my sage for that as well, that would be wildly convenient lol 😁
I've seen a lot of videos on compression, this is the best. accurate, straight to the point, no bullshit.
This is absolutely unbelievable content. The real life examples and the way you break everything down helped clarify so much for me. Thank you.