For me, it's always a deep, almost spiritual process that usually plays out in the late hours. Deciding between a Blue or a Black 76, that's a day in life well spent!
I'd use the stock abelton in the track if simple generic use, but i enjoy using specific comps on buses like shadow hills green or red, ssl channels, townhouse CLA etc too some various tones or colour subtley and different attacks or some fun with the flood modes etc
I don't think about the type of compressors. I just try different compressors and use the one that sounds good to me. The more reason I need this compressor course so I can be more intensional.
hi thanks for the explanation , in the opto comps you mentioned they are slower. could you explain why this rounds off the transients? if its slow the transient should come through making it more aggressive?
Excelente video, muy ilustrativo y como deben enseñarse las cosas. Primero lo primero: teoría, definiciones y fundamentos. Luego y solo luego, remangarse y ensuciarse las manos con la práctica pero siempre con conocimiento de causa. Me sumo como suscriptor desde hoy y la felicito oor su canal!
We, in the studio have become obsessed with compressors. I remember reading an article that was written by a famous mixing engineer and he said, in the old days, you didnt worry about what type of compressor you had, you just used what was available, didn't matter, 1176 or a radio shack compressor, you just used it. He said that the biggest worry that the engineer had in those days was getting through the sessions without the tape machine breaking down and not what type of compressor you were using..
Love your videos Sara, I share them with clients so when they ask me for a specific feel or sound and they are confused they can learn the language of audio recording. I would love to see what your eq cheat sheet looks like, I signed up never got it. Peace Respect Forward
@@SaraCarterSimplyMixing I looked for your email without luck, went to the site simply mixing, and was promoted to enter my email for the cheat sheet once more tried that, and nothing... strange. Some kind of glitch. You can send it to disciplebrother@gmail.com if time permits. Would love to see your modeling on eq- fun:O)
A couple of things I'd love to know more about is why/when to use compressors in series.The other is when using a drum buss along with various parallel processing, do you still route these all to a master drum buss ? Thanks for everything you do. I really appreciate your ability to convey everything so clearly.
I think whenever you need to control something with wild dynamics and want it to sit solidly in the mix, like bass or vocals unless you're using parallel compression. The idea is to not have one compressor coping with wild swings in levels and to spread that control out over two compressors. Funny you should ask about the drum buss as I used to route the parallels to the drum master buss but then I realised this can make the snare sound too flat and smacky. I'm changing my template to route the parallels to the mix bus instead.
@@SaraCarterSimplyMixing Thank You so much for your time and advice. If you have Patreon or PayPal Me stuff, I'm glad to donate.You are boosting confidence !
So glad U found you page thank you so much. I'm always looking for better ways to explain concepts to students when I'm teaching basic classes and inevitably I learn more my self lol. Thank you so much.
Brilliant tutorial thanks Sara, recently bought Arturia's FX collection and wondered what instances I would use each of the compressors for. This has helped me no end!
Glad it was helpful. There are some typical applications for the different types but no rules. Some are more characterful than others and you might not choose to use those on a mix bus but it depends on the sound you're going for.
Do you think about the type of compressor you’re choosing to use or just slap on your favourite regardless?
For me, it's always a deep, almost spiritual process that usually plays out in the late hours. Deciding between a Blue or a Black 76, that's a day in life well spent!
@@pekkyas Love it!
I'd use the stock abelton in the track if simple generic use, but i enjoy using specific comps on buses like shadow hills green or red, ssl channels, townhouse CLA etc too some various tones or colour subtley and different attacks or some fun with the flood modes etc
Nice!
I don't think about the type of compressors. I just try different compressors and use the one that sounds good to me. The more reason I need this compressor course so I can be more intensional.
Fantastic video Sara! I really enjoyed it!
Thank you so much!
Thanks for the insight, Sara. Really appreciate the video.
You’re welcome ☺️
Excellent video, Thank you!!
Glad you liked it!
hi thanks for the explanation , in the opto comps you mentioned they are slower. could you explain why this rounds off the transients? if its slow the transient should come through making it more aggressive?
Thank you. Enjoyed.
So glad!
❤ fantastic 😊❤
Thanks 😄
Excelente video, muy ilustrativo y como deben enseñarse las cosas. Primero lo primero: teoría, definiciones y fundamentos. Luego y solo luego, remangarse y ensuciarse las manos con la práctica pero siempre con conocimiento de causa. Me sumo como suscriptor desde hoy y la felicito oor su canal!
We, in the studio have become obsessed with compressors. I remember reading an article that was written by a famous mixing engineer and he said, in the old days, you didnt worry about what type of compressor you had, you just used what was available, didn't matter, 1176 or a radio shack compressor, you just used it. He said that the biggest worry that the engineer had in those days was getting through the sessions without the tape machine breaking down and not what type of compressor you were using..
This is true!
Discovered your channel today. Really enjoy your teaching style. Clear, concise, and great examples. Subscribed!
Awesome, thank you!
The Pam Ayres of audio! Good stuff.
Haha! Wrong end of the UK but I get where you're coming from!!
@@SaraCarterSimplyMixing Close enough from Australia :-D (I knew it wasn't exact, but close enough for jokes :-D
😂 I used to love Pam Ayers
@@SaraCarterSimplyMixing Same. And I think that's dating ourselves, that admission :-D
@@miccullen yep!
very comprehensive and you still kept it short, thank you :-)
Thanks for watching and glad to help!
Thank you, Sara, this video was so so helpful for me! Have a beautiful day!
You're so welcome!
Love your videos Sara, I share them with clients so when they ask me for a specific feel or sound and they are confused they can learn the language of audio recording. I would love to see what your eq cheat sheet looks like, I signed up never got it. Peace Respect Forward
Thank you for sharing! Email me for your cheat sheet. Sometimes things don’t quite work how they should!
@@SaraCarterSimplyMixing I looked for your email without luck, went to the site simply mixing, and was promoted to enter my email for the cheat sheet once more tried that, and nothing... strange. Some kind of glitch. You can send it to disciplebrother@gmail.com if time permits. Would love to see your modeling on eq- fun:O)
@@biggabiggap7305 Hey there, I tried to email you but it got returned. I think there's something wrong at your end!
You have THE KINDEST disposition.
Thank you!
A couple of things I'd love to know more about is why/when to use compressors in series.The other is when using a drum buss along with various parallel processing, do you still route these all to a master drum buss ?
Thanks for everything you do. I really appreciate your ability to convey everything so clearly.
I think whenever you need to control something with wild dynamics and want it to sit solidly in the mix, like bass or vocals unless you're using parallel compression. The idea is to not have one compressor coping with wild swings in levels and to spread that control out over two compressors. Funny you should ask about the drum buss as I used to route the parallels to the drum master buss but then I realised this can make the snare sound too flat and smacky. I'm changing my template to route the parallels to the mix bus instead.
@@SaraCarterSimplyMixing Thank You so much for your time and advice. If you have Patreon or PayPal Me stuff, I'm glad to donate.You are boosting confidence !
Your very helpful! Thank you!
You’re welcome! Glad to help
What does it mean for a sound to be “transient heavy”?
Sharp, snappy, edgy sounding rather than smooth or round. It's hard to describe sound in words! Haha.
You are very good and clear in your description. A great help.
S Eriksson, thanks for watching and for the feedback!
Thanks
You’re welcome
So glad U found you page thank you so much. I'm always looking for better ways to explain concepts to students when I'm teaching basic classes and inevitably I learn more my self lol. Thank you so much.
You’re welcome!
Cool demo.
Thanks for watching
This was brilliant, thank you.
You're very welcome, glad to have helped
Great video. Informative and clear presentation. Thanks!
Glad you enjoyed it!
Brilliant tutorial thanks Sara, recently bought Arturia's FX collection and wondered what instances I would use each of the compressors for. This has helped me no end!
Glad it was helpful. There are some typical applications for the different types but no rules. Some are more characterful than others and you might not choose to use those on a mix bus but it depends on the sound you're going for.
Tank you Sara!
I just love it when someone answers the questions I have before I ask them.
I really enjoy your videos, keep up your great work!
Anders Fennsjö, thank you so much :)
Very helpful information. Thank you
Jebb., thanks for watching and for the feedback!
What a great Channel :) keep up the good work!
Kalu Bandali, thank you so much :)