I dont understand how these videos dont have thousands of likes. And i cant believe im actually watching these beginners videos. Ive been doing audio for years, but I've never seen anyone explain these fundamentals of audio design so well, and concise. Tall Guy obviously has a firm grasp of the nature and mechanics of audio and it shows in his delivery of presenting these fundamental tools that designers and engineers work with every day. I wish i had found these when I was starting out, would have taken out all the confusion that came from weak and disjunct explanations that are everywhere. A lot of people who teach this stuff online, free or paid, understand the tool enough that they can give a demonstration of what its supposed to do without really connecting the viewer to its application in a real sense. I can't count how many times i felt like i was given a metaphore for how a compressor or eq worked, rather than a real understanding of these tools. Just having a simple example of how it works and why from someone who understands its usage makes all the difference in the world. Tall Guy nails it, and im 100% recommending these to anyone starting out.
Just came across your channel! Thanks for the concise explanation. I just got lost when you started explaining how one could make a sound disappear in the background using Limiters/output knob. I'll binge through all of your content to see if i can find an explanation but would really appreciate if you'd point me in the right direction.
Basically sudden peaks of sound can be distracting, so if you want something to be less noticeable in the background, a compressor helps tame those peaks so they don't stand out and distract the listener.
@4:27 "You want the softer parts of the mix to be audible, even in poor listening environments" I want my music to be as close as possible to an exact image of being in the studio with the band. I want to hear the band. I want to hear the artists. I do not want to hear the person at the controls of the compression boxes and the equalization boxes, etc. The music should be about the talent of the artists, not about the person turning knobs and sliding levers. It is unfortunate that people listening to music in their homes have to have over-processed music, because that music might also be playing in a department store, a mall, or an elevator. @8:26 "Generally you want the release of a compressor to be short enough that the pumping happens so quickly it can't be heard" Every box, every board, every processor, every interconnect, every tube, etc, that the sound passes through can be heard. Probably not on a stereo from Walmart. But on a mid to high-end stereo, it is all heard. If an instrument is too low or too loud, then that stem could have its gain increased or decreased by a quality attenuator . But once you put that trumpet, that drum, that voice, through a compression box, it no longer sounds real. All compression is a form of distortion, and all distortion is cumulative. For special effects, compression and equalization is unavoidable, as sometimes a band cannot create the effect naturally. But if you turn up your stereo too loud, and you hear distortion due to you clipping your amps, then that is not the fault of the music. That is the fault of your amps. The rest of the world should not have to listen to "loudness" music with crushed dynamics because not all amps can play as loud as people like. Dynamics are the life and energy of music. Compressors are the Kryptonite of musical liveliness. I enjoyed your explanations. It was educational. But mixing engineers and mastering engineers are too enamored by their mixing and compression and processing equipment, and they suck the life out of otherwise amazing sounding master tapes. Cheers!
I'm very extremely new to sound design, but from his explanation I'd agree that I'd stay away from using compression over an entire music track for the reasons you state. But I'd bet you could use it to make some cool-sounding digital instruments as part of a larger piece. Either way, though, knowing how compression works would probably be useful for people doing sound design that isn't related to music.
I dont understand how these videos dont have thousands of likes. And i cant believe im actually watching these beginners videos. Ive been doing audio for years, but I've never seen anyone explain these fundamentals of audio design so well, and concise. Tall Guy obviously has a firm grasp of the nature and mechanics of audio and it shows in his delivery of presenting these fundamental tools that designers and engineers work with every day. I wish i had found these when I was starting out, would have taken out all the confusion that came from weak and disjunct explanations that are everywhere. A lot of people who teach this stuff online, free or paid, understand the tool enough that they can give a demonstration of what its supposed to do without really connecting the viewer to its application in a real sense. I can't count how many times i felt like i was given a metaphore for how a compressor or eq worked, rather than a real understanding of these tools. Just having a simple example of how it works and why from someone who understands its usage makes all the difference in the world. Tall Guy nails it, and im 100% recommending these to anyone starting out.
Just came across your channel! Thanks for the concise explanation. I just got lost when you started explaining how one could make a sound disappear in the background using Limiters/output knob. I'll binge through all of your content to see if i can find an explanation but would really appreciate if you'd point me in the right direction.
Basically sudden peaks of sound can be distracting, so if you want something to be less noticeable in the background, a compressor helps tame those peaks so they don't stand out and distract the listener.
Amazing stuff. Easy to follow
Really well-explained video, lot of important info right here, thank you!!
Hi do you give one on one lessons on line ?
Excellent lecture!
If so how many ch do you charge ?
Thank you!
Woaah mec tes dieux lol haha merciii pour saa une vraie moi jte le dis et sa fait longtemps je mix , merci a toii frere de son
@4:27
"You want the softer parts of the mix to be audible, even in poor listening environments"
I want my music to be as close as possible to an exact image of being in the studio with the band.
I want to hear the band.
I want to hear the artists.
I do not want to hear the person at the controls of the compression boxes and the equalization boxes, etc.
The music should be about the talent of the artists, not about the person turning knobs and sliding levers.
It is unfortunate that people listening to music in their homes have to have over-processed music, because that music might also be playing in a department store, a mall, or an elevator.
@8:26
"Generally you want the release of a compressor to be short enough that the pumping happens so quickly it can't be heard"
Every box, every board, every processor, every interconnect, every tube, etc, that the sound passes through can be heard. Probably not on a stereo from Walmart. But on a mid to high-end stereo, it is all heard.
If an instrument is too low or too loud, then that stem could have its gain increased or decreased by a quality attenuator . But once you put that trumpet, that drum, that voice, through a compression box, it no longer sounds real.
All compression is a form of distortion, and all distortion is cumulative.
For special effects, compression and equalization is unavoidable, as sometimes a band cannot create the effect naturally.
But if you turn up your stereo too loud, and you hear distortion due to you clipping your amps, then that is not the fault of the music. That is the fault of your amps.
The rest of the world should not have to listen to "loudness" music with crushed dynamics because not all amps can play as loud as people like.
Dynamics are the life and energy of music. Compressors are the Kryptonite of musical liveliness.
I enjoyed your explanations. It was educational. But mixing engineers and mastering engineers are too enamored by their mixing and compression and processing equipment, and they suck the life out of otherwise amazing sounding master tapes.
Cheers!
I'm very extremely new to sound design, but from his explanation I'd agree that I'd stay away from using compression over an entire music track for the reasons you state. But I'd bet you could use it to make some cool-sounding digital instruments as part of a larger piece. Either way, though, knowing how compression works would probably be useful for people doing sound design that isn't related to music.