Snare: at 50ms the compressing effect was so brief that it sounded like no compression at all. The tail of the snare hit was unaffected and took much longer to decay than when released at 200ms vs 50ms.
Konami Code compression method, by Joe Gilder. You made me laugh out loud and feel happy (and old!) with this reference - hehe. Great video, as always. Cheers!
Joe, I love your philosophy with music. Using simplicity and efficiency is the most powerful concept. I would love to see you make some production/composition centered videos, because that's a side we don't get to really see from you !
@@HomeStudioCorner I agree let's see you work a production to completion. You have a good voice let's see what you can do. Or get Presonus guys to make a song with you if you don't feel confident enough to do it on your own 😂
A great piece of advice I heard from another TH-cam mixer was to take a compressor and crank the input gain, max the ratio and then you can really hear how the attack and release are affecting the sound. Once you dial in the attack and release, then dial in the input gain and ratio.
Interesting stuff. Up until now I'd just pushed the release knob into a middle position and hoped for the best. I will now start listening to the signal with different release timings.
Thanks for a more laymen's terms in describing what a compressor does. I've watched a bunch of videos on compressors alone and was like, "I'll get it at some point." I'm listening on M1 iMac on my work break. The speakers are ok at best. What I hear when you shorten the release time is not only volume, but the resonance of the shell and the actual snare wires themselves. Pretty cool demonstration.
Great vid as usual Joe! Thanks. I had a bit of an epiphany just last evening with the release knob on the limiter on my output buss. Instead of paying attention to the level meters i was focused on the numbers just above the output slider. They were bouncing all over. Adjusting the release just right and they didnt bounce so much. I like to keep the output around negative seven leaving the mastering engineer room to work with.
Sometimes, the release knob help to sharp the groove in the track , on percussion, drums or others instruments and the nuance too. But technically its the speed to initialize the compressor, and I love to automate the release with some delay , and it make the snare fill bounce better... Thank your for explanation
I sometimes use a short release on the compressor, and then run the compressor in parallel with the source signal, adjusting the mix between the compressor and the source until it sounds like it fills out the song more. It gives the song a less hollow sound, filling what might have otherwise been emptiness in the sound of the song. And, to me, this glues the song together better. But it depends on the song. Having it in parallel means I can control how much of it I want to have.
I realized 5 months later I forgot to answer what I heard with the somewhat faster vs slower release. Faster release made the snare seem louder with more snap to the hit, while slower release pushed it back some.
Here's a hint. I've been running this channel for 15 years, and I've changed my microphone many times, but for 15 years people have asked me what mic I use. The mic doesn't matter all that much. This is just what my voice sounds like. Also I know how to EQ it to make it sound good. That's it.
In case of vocal compression, sometimes I feel uncomfortable with the harshness that arises when I apply too much compression to the voice. However, sometimes the voice needs this type of compression. When I have a fast release, this "grit" appears a lot in the mix, such as: initial breaths, strange frequencies, etc. Wouldn't this be solved with a longer release, right? Where the voice would become smoother, in terms of things that appear in the front of the mix, but still quite compressed as I always wanted from the beginning. I feel like there's a "trend" among TH-cam producers to think that a long release kills the punch of the instruments. It's almost unanimous: want punchy sound? Slow attack, short release. But this is a very generic way to explain compression. Then you see countless songs sounding horribly dirty, especially the vocals. Quality content, man!
The release knob is there for a reason, for the compressors that have it. My SSL bus and G3 I'll probably use Auto, but I can dial in a faster release manually on my 2 bus to go with slow attack. 2:1 ratio, 30 (30 ms) attack, Auto or .1 (10 ms) release, threshold to get about 1 DB Gain Reduction. Nice Nintendo code, probably Contra.
I'm not sure, but I'll find out. OK looks like you might be right. SSL Bus Compressor 2 release looks to be measured in seconds, so .1 equals 100 ms, etc.
Thanks for the video Joe. If I hadn't watched this one, it would've taken me longer to realize that the fast release is actually to the right side of the knob. 😂
Longer release time made the Snare sound more squashed. When the release time was shortened I felt like the sound of the snare was more open. Feels like the longer release time made the Snare sound tighter.
I have seen a lot of videos on compression, but none of them give examples of the desired result of compression. Can you tell us what is so good about it. How can it make our recordings more pro sounding?
This is a great question. Just so I understand you, you're asking for a more fundamental video about what actually compression DOES to the sound and why we use it in the first place?
When you speed up the release it sounds louder and I would guess that's because you're letting the sound out faster. It makes it slower release time feel almost gated.
What about those mixer where you have a "one" knob compressor, it's kinda changing several settings at once. Does this mean those are "trash" or can you actually get decent result with these things ?
They are not trash. But they are more binary. You either get the sound you want or you don’t. Since you can’t adjust all the individual settings, you are left with simply not being able to customize the sound at all. I would imagine it either works or it doesn’t on a specific track.
We had a drummer that used hydraulic heads on his drums to me those were the best id ever heard. the ringing tones on some standard heads is not color i seek, most the time they are out of key to the music material.
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Was that the cheat for Sonic ? It's been a long time.
Snare: at 50ms the compressing effect was so brief that it sounded like no compression at all. The tail of the snare hit was unaffected and took much longer to decay than when released at 200ms vs 50ms.
Konami Code compression method, by Joe Gilder. You made me laugh out loud and feel happy (and old!) with this reference - hehe.
Great video, as always. Cheers!
knew he was one of us!
Going all "Konami Code" on us! Awesome!
On a full drum kit, I think of the release knob as the “room” knob.
Joe, I love your philosophy with music. Using simplicity and efficiency is the most powerful concept. I would love to see you make some production/composition centered videos, because that's a side we don't get to really see from you !
Great suggestion. Any specific ideas?
@@HomeStudioCorner I agree let's see you work a production to completion. You have a good voice let's see what you can do. Or get Presonus guys to make a song with you if you don't feel confident enough to do it on your own 😂
That's exactly what I do (three different times) inside my recording course. www.homestudiocorner.com/record
Man, you read my mind. I was just looking for a video about shaping snares with compression and this was absolutely perfect!
A great piece of advice I heard from another TH-cam mixer was to take a compressor and crank the input gain, max the ratio and then you can really hear how the attack and release are affecting the sound. Once you dial in the attack and release, then dial in the input gain and ratio.
That’s great advice, thanks for sharing!
That's a good way to train a person's ears how to hear the difference.
Thanks Joe! That was the clearest description of compression I've seen. The up-down-left-right analogy helps keep it straight in my mind.
Great video Joe. Release is the hardest setting to master
Great info Joe!
Very strong ability to explain. I am getting everything you are saying. ❤
Great video Joe. You make these things so easy to understand.
Interesting stuff. Up until now I'd just pushed the release knob into a middle position and hoped for the best. I will now start listening to the signal with different release timings.
Awesome tutorial like always 👌🏽
A really interesting, helpful tutorial. Another good one!
Thanks for a more laymen's terms in describing what a compressor does. I've watched a bunch of videos on compressors alone and was like, "I'll get it at some point." I'm listening on M1 iMac on my work break. The speakers are ok at best. What I hear when you shorten the release time is not only volume, but the resonance of the shell and the actual snare wires themselves. Pretty cool demonstration.
Thanks again Joe! Always helpful videos!
I needed to hear/see this! Thanks, Joe!
very helpful explained! give tanx Joe 🤜🤛
Thanks for sharing this! 👍
Great vid as usual Joe! Thanks. I had a bit of an epiphany just last evening with the release knob on the limiter on my output buss. Instead of paying attention to the level meters i was focused on the numbers just above the output slider. They were bouncing all over. Adjusting the release just right and they didnt bounce so much. I like to keep the output around negative seven leaving the mastering engineer room to work with.
I'm getting the hang of compressors, but going over it again definitely is a help for me,
Thanks Joe for all the help. I saw your video today talking about mixing virtual drums and was curious as to your pc setup if you don't mind.
"Rockness". My new favourite word!
Sometimes, the release knob help to sharp the groove in the track , on percussion, drums or others instruments and the nuance too. But technically its the speed to initialize the compressor, and I love to automate the release with some delay , and it make the snare fill bounce better... Thank your for explanation
I sometimes use a short release on the compressor, and then run the compressor in parallel with the source signal, adjusting the mix between the compressor and the source until it sounds like it fills out the song more. It gives the song a less hollow sound, filling what might have otherwise been emptiness in the sound of the song. And, to me, this glues the song together better. But it depends on the song. Having it in parallel means I can control how much of it I want to have.
That was a really helpful vid
I realized 5 months later I forgot to answer what I heard with the somewhat faster vs slower release.
Faster release made the snare seem louder with more snap to the hit, while slower release pushed it back some.
Legend!
I. MISS. YOU.
Great video!
Thanks Joe, great explainer.
I also use a compressor to skip levels in Sonic. 🙃
Perfect explanation BTW!!💪🏽💪🏽
Hi Joe, just wondering if you were going to keep posting on the recording revolution or not? Many thanks and been following for a long time!
Nope.
great tips. I've definitely mutilated some snares turning knobs on a compressor
Wow so educative. Please what mic are you using please?
Earthworks Ethos
I have the same mic as him and I still sound thin and whiny. I don't know why. Maybe it's his natural voice that's warm.
Here's a hint. I've been running this channel for 15 years, and I've changed my microphone many times, but for 15 years people have asked me what mic I use. The mic doesn't matter all that much. This is just what my voice sounds like. Also I know how to EQ it to make it sound good. That's it.
In case of vocal compression, sometimes I feel uncomfortable with the harshness that arises when I apply too much compression to the voice. However, sometimes the voice needs this type of compression. When I have a fast release, this "grit" appears a lot in the mix, such as: initial breaths, strange frequencies, etc.
Wouldn't this be solved with a longer release, right? Where the voice would become smoother, in terms of things that appear in the front of the mix, but still quite compressed as I always wanted from the beginning. I feel like there's a "trend" among TH-cam producers to think that a long release kills the punch of the instruments. It's almost unanimous: want punchy sound? Slow attack, short release. But this is a very generic way to explain compression. Then you see countless songs sounding horribly dirty, especially the vocals.
Quality content, man!
The release knob is there for a reason, for the compressors that have it. My SSL bus and G3 I'll probably use Auto, but I can dial in a faster release manually on my 2 bus to go with slow attack. 2:1 ratio, 30 (30 ms) attack, Auto or .1 (10 ms) release, threshold to get about 1 DB Gain Reduction.
Nice Nintendo code, probably Contra.
isnt the .1 on an ssl bus type comp 100ms? for the release i mean. not 10ms
I'm not sure, but I'll find out.
OK looks like you might be right. SSL Bus Compressor 2 release looks to be measured in seconds, so .1 equals 100 ms, etc.
What I heard: Faster release preserved some of the "echo/reverb/tail" of the snap sound
Thanks for the video Joe. If I hadn't watched this one, it would've taken me longer to realize that the fast release is actually to the right side of the knob. 😂
Yeah Presonus put the actual time (in milliseconds) on there, which isn't on the original hardware. Super helpful.
It's very important knob on compressor indeed. As important as attack, ratio and treshold.
I can listen all day to this guy… voice tone matters!!! lol 😂
Amazing explanation, but what about other instruments? I guess that for non drums a faster release gets the more natural results...
Longer release time made the Snare sound more squashed. When the release time was shortened I felt like the sound of the snare was more open. Feels like the longer release time made the Snare sound tighter.
I have seen a lot of videos on compression, but none of them give examples of the desired result of compression. Can you tell us what is so good about it. How can it make our recordings more pro sounding?
This is a great question. Just so I understand you, you're asking for a more fundamental video about what actually compression DOES to the sound and why we use it in the first place?
I feel compress is the difference between talking outside in NYC traffic in the middle of the day and talking in a library
If you use your comp on snare purely to shape the envelope (which makes sense), have you ever considered using a transient shaper instead?
I haven't. I'm sure they're awesome. I've just never used 'em.
@5'30'': When you move to 50ms I can hear much more harmonics or at least more treble, right? And it's a bit louder too.
Just add some nutmeg to that snare, it will mellow the Ph level... A very informative Video (as usual)
This is the way
Joe! What is the zooming plugin or app you use? Haven’t been able to find anything like it. Please.
It’s a built-in Mac function. Set it up in Accessibility. I’m just using Ctrl+scroll
@@HomeStudioCorner You’re the man! Thanks Joe!
At 50ms the audio sounded louder and more sharp while the other 100ms setting the audio sounded softer and maybe more natural.
When you speed up the release it sounds louder and I would guess that's because you're letting the sound out faster. It makes it slower release time feel almost gated.
The longer release time sounded tidy and short. The 50ms sounded like it had a delay on it, like a fainter repeat tagged on to it.
PUMPING
What about those mixer where you have a "one" knob compressor, it's kinda changing several settings at once. Does this mean those are "trash" or can you actually get decent result with these things ?
They are not trash. But they are more binary. You either get the sound you want or you don’t. Since you can’t adjust all the individual settings, you are left with simply not being able to customize the sound at all. I would imagine it either works or it doesn’t on a specific track.
Short release caused the snare to preserve its tail while longer release caused the tail to be more contained and tight.
I heard like the 50ms allowed some sort of short reverb, whereas 100ms sounded like a treated room.
It got louder, some rattle and grit came out and it felt like longer tail or sustain ( hope this makss sense and i am describing it correct)
A "clean knob" is essential, especially when you're "pumping" those beats 🤭
The slower release time tightened the sound on the snare.
It's like a volume knob for the tail of the sound
^^^ THIS
I think syncing the compressor to tempo can do wonders in electronic music. Rock/metal not so much.
To my ears, the shorter release time added some sound of the room.
The longer releases made the snare sound more kind of blupp.
Brighter & longer ,less stifled Joe
We had a drummer that used hydraulic heads on his drums to me those were the best id ever heard. the ringing tones on some standard heads is not color i seek, most the time they are out of key to the music material.
Snare is more up front when it is released at 50ms.
Hear more SPlASH/Ring w/short Release.
I found your secret brawl stars channel. It’s so fire.
🔥
At 50ms it sounded louder and more bright.
Don't think I will ever ask you for directions joe
sustain
Just wanted to say Joe... You are looking really good. looks like you have lost STACKS of weight. Good on ya.
A tad louder and longer decay
The sound was kinda sustained more at 50 ten the other setting
Slower sounds like whaaaapt. Faster sounds WHAPT
The 50ms sounds snappier and louder
much longer decay time at the end of the snare lick
Im first!
When moved to 50ms the snare gets bigger.
50ms is louder and longer.
shorter release, longer tail
50ms sounded brighter
faster rekease = longer tail
Contra...30 lives for 2 players
You win everything.
@@HomeStudioCorner 😆 Great video btw. Thanks for the instruction.
Im unsubscribing just for this dumb thumbnail, the shock trope🙄
👋