I've said it before and I'll say it again - Boot Camp is without doubt the best investment you can make if you're serious about improving knowledge, mindset, technique and workflow.
I use an opposite technique similar in theory to this, with a long release and high ratios with very low thresholds just until I get 1 to 2 DB of reduction as a leveler to keep elements in their place. Shaving off and taming it. Basically I use it for elements I want to either be static or pushed to the back of the sound field. My mentors called it leveling or slow limiting. For static elements I let the threshold act as the overall determinate of the leveling with very small amount of gain reduction. I don’t want the compression to be heard so very slow releases are critical just to control it. Kind of like bull rider except I’m wrangling wild transients 😆. It’s the opposite of rhythm based compression but works when grafting the 3D space of the overall mix and controlling overly dynamic elements. Like mandolins or over zealous acoustic guitarists. Great informative video Mike as always Cheers!
I tried the technique. There are many game-changers, but this has got to be one of the most potent bunch. The same performance is almost reborn. It's like the drummer did not drink too many tequila shots the night before:) Joke aside, this will forever change the outcome of my mixes. Thank you!
Thanks man. I use this technique a lot. Really works nicely if you set to 8th notes with drums in electronic music. Sometimes I play a little with it, so I go over or less than 8th notes by a few MS. This can create a great swing in the beat.
You helped me a lot with comp technique. Just one thing, I found that Pro C2 alter my sound making it brighter and sometimes harsh to my ears. So I changed to Tokyo Dawn Kotel comp and it was much better. I do use Pro C2 on drum bus sometimes, tho.
Mike hi, I know this video been a while, but can you can this video a little longer, even a little deeper, it's a very interesting thing, I never knew a compressor can do, please. I beg you, if compression can maintain the groove of a groovy beat or track. I subscribed, first I ever hear about this.
Thank you Mike! @Michael White, just for sharing, +Hornet Plugins recently launched a compressor that works on your beat actually. Syncpressor. Worth having a look
Would you also add the same release time on the compressor of the drum bus as well or would you have the release time different for drum bus to place drums in its own space (depth) in the mix?
I guess if you do it on drum bus you can’t control the individual elements threshold to get three dB of gain reduction to get the groove which is Mike is talking about. Saying that - on a drum bus can get the levels of the individual element one by one by muting others to get the 3db of gain reduction and the groove.
@@usedusermoser well I meant in addition to doing the individual drum tracks. After doing the individual drum tracks with this concept, how would you set the drum buss compressor? Use it to set the drum space within the mix or also have the release time the same as the individual tracks with 3db of GR.
great tutorial on comp settings but honestly the original drums loop has an interesting groove with emphasize on kicks makes it sound more natural. When the comps are on then the loop sounds, of course, compressed and flat and clicky and has no life in it. IMHO maybe some more make-up gain on Kick would return some vibe.
I've said it before and I'll say it again - Boot Camp is without doubt the best investment you can make if you're serious about improving knowledge, mindset, technique and workflow.
I use an opposite technique similar in theory to this, with a long release and high ratios with very low thresholds just until I get 1 to 2 DB of reduction as a leveler to keep elements in their place. Shaving off and taming it. Basically I use it for elements I want to either be static or pushed to the back of the sound field. My mentors called it leveling or slow limiting. For static elements I let the threshold act as the overall determinate of the leveling with very small amount of gain reduction. I don’t want the compression to be heard so very slow releases are critical just to control it. Kind of like bull rider except I’m wrangling wild transients 😆. It’s the opposite of rhythm based compression but works when grafting the 3D space of the overall mix and controlling overly dynamic elements. Like mandolins or over zealous acoustic guitarists. Great informative video Mike as always Cheers!
Thank you Michael.
The best explanation I have seen about rhythm-base compression.
Thanks Mike.
I tried the technique.
There are many game-changers, but this has got to be one of the most potent bunch.
The same performance is almost reborn. It's like the drummer did not drink too many tequila shots the night before:)
Joke aside, this will forever change the outcome of my mixes.
Thank you!
Thanks man. I use this technique a lot. Really works nicely if you set to 8th notes with drums in electronic music. Sometimes I play a little with it, so I go over or less than 8th notes by a few MS. This can create a great swing in the beat.
Very interesting tips. I’ve been using SyncPressor by Hornet Plugins which more or less automates these ideas.
The is a great video very big thanks to Mike
I've been using saturation (mostly Saturn2) in place of compression recently, to great results. Gonna give this a shot tho.
Very helpful, thank you
It’s like I lose the ability to bob my head when he turns off the compression. Good stuff
Gold, baby ! Thanks a thousand times
Another great tip! Thanks.
You helped me a lot with comp technique. Just one thing, I found that Pro C2 alter my sound making it brighter and sometimes harsh to my ears. So I changed to Tokyo Dawn Kotel comp and it was much better. I do use Pro C2 on drum bus sometimes, tho.
awsome
Brilliant...AGAIN! Thank you!
thanks for sharing Mike!!!
Thanks, Mike!!!!
How is this different than sidechain? (Or rather applied with sidechain).
What is the tool used for the rhythmic values? Great tip!
Woow, great tip Mike thanks
Mike hi, I know this video been a while, but can you can this video a little longer, even a little deeper, it's a very interesting thing, I never knew a compressor can do, please.
I beg you, if compression can maintain the groove of a groovy beat or track. I subscribed, first I ever hear about this.
Thank you Mike! @Michael White, just for sharing, +Hornet Plugins recently launched a compressor that works on your beat actually. Syncpressor. Worth having a look
I have a question..does early Reflections come before using compression to stage depth or after?
wow.why am i being suggested to watch your video just now
Would you also add the same release time on the compressor of the drum bus as well or would you have the release time different for drum bus to place drums in its own space (depth) in the mix?
I guess if you do it on drum bus you can’t control the individual elements threshold to get three dB of gain reduction to get the groove which is Mike is talking about. Saying that - on a drum bus can get the levels of the individual element one by one by muting others to get the 3db of gain reduction and the groove.
@@usedusermoser well I meant in addition to doing the individual drum tracks. After doing the individual drum tracks with this concept, how would you set the drum buss compressor? Use it to set the drum space within the mix or also have the release time the same as the individual tracks with 3db of GR.
nice!
If the drum part enclosed the bass part, how would it sound?
great tutorial on comp settings but honestly the original drums loop has an interesting groove with emphasize on kicks makes it sound more natural. When the comps are on then the loop sounds, of course, compressed and flat and clicky and has no life in it. IMHO maybe some more make-up gain on Kick would return some vibe.
FIRST!!!