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-- Can someone explain this to me?
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the time would only matters for the onset of the compressor. The transients would matter if a compressor could act fast enough to actually catch the fast attack transient of the high freq but they can't so the point is moot. A compressor averages amplitudes and the operation doesn't happen instantly. You are wrong.

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Originally posted by RichieV in almost every practical situation , it won't .

The language is there, you fail to comprehend it. Which is purely your fault. 1 ms difference between the two = X + 1, meaning X can be any number, and doesnt have to be 1, and does not mean 1ms obviously. It could be 792ms and 793ms. Do I got dumb everything down for you? After the countless fails,dont you get bored? You should be practicing your composition and production skills instead . People without music theory background got you beat lol.

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Originally posted by RichieV the time would only matters for the onset of the compressor. The transients would matter if a compressor could act fast enough to actually catch the fast attack transient of the high freq but they can't so the point is moot. A compressor averages amplitudes and the operation doesn't happen instantly. You are wrong.

What the shit is this? You're not even making any sense. Like I said, go learn everything a compressor does to a transient, and how the different parameters act and shape a sound.

a compressor doesn't count numbers you fucking tard , it analyses the relative timing between a transient and the specified attack time. Regardless of the timing, it will look for the fastest transient within the given time frame. The release also matters because lets just say a compressor can act that quick which it doesn't , I have yet to see any compressor have a release that quick which means the low Hz will act on it eventually making your point irrelevant. It really isn't that hard and I think you should read up a little on what a compressor actually does because I don't think you get the jist.

And I had to program a compressor vst in school . I know what i'm talking about. So just stop.

You also are some "music theory specialist."

And you haven't got the first clue about compression, since you agreed with MrJive, even though he didnt even mention transients. All around lame.

yup

and I have a masters in composition
I do music for a living. You don't
You make shitty house music and troll on message-boards.

I think I covered the bases here.

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Originally posted by RichieV yup and I have a masters in composition I do music for a living. You don't You make shitty house music and troll on message-boards. I think I covered the bases here.

jeeez what a hardcore troll. Where are you mannersz?

Fail.

I didn't mention transients because the OP didn't ask about them. He asked about amplitudes and frequency ranges.

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Originally posted by MrJiveBoJingles I didn't mention transients because the OP didn't ask about them. He asked about amplitudes and frequency ranges.

Well then you didnt help him by not mentioning it. Why not mention transients of a sound if they impact the limiter? I could give you an analogy, but its a safe bet you desperate to not be wrong lol. O well i'll give it anyways, you go to a Mechanic, wanting an oil change, if he sees a problem with your breaks, as a professional he should educate you about your breaks. Just because he didnt ask about transients, does not mean you should have not have told him about how they might affect things.

I laughed. Kismet please stop. You didn't read properly (literally and context-wise) on page one and look where it got us.

he's like the fucking energizer bunny but with down syndrome.

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Originally posted by Storyteller I laughed. Kismet please stop. You didn't read properly (literally and context-wise) on page one and look where it got us.

With the countless reading comprenhension failures i've run into on this forum, that is rich coming from you. You probably dont even know how bus compression works either.

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Now obviously they are both compressed when you send the signals to the master, but what does that compression look like?

Since you guys are well below average reading comprehension, let me help, when he says "send to master bus", that means he is sending it, he didnt say he summed or made one track out of two sounds, he is simply sending it. You dont have to sum anything up to send it to a compressor/limiter for processing.

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Originally posted by Nightshift Kismet fails...once again.

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Originally posted by Kismet7 bus compression

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Originally posted by Nightshift

Do you have anything else to do but troll discussions and add nothing? Lame

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Originally posted by Kismet7 With the countless reading comprenhension failures i've run into on this forum, that is rich coming from you.

It is indeed. Especially considering you're the native speaker and you're doing it wrong . I'm just saying if you read better it could have saved us from a lot of rants.

Kismet - JBJ is right, you are wrong
Is it so hard to hold your hands up and say that you made a mistake instead of trying to make out your still right??? Fucking hell man

And stop patronising people telling them to go and read up on whatever - no need for it, there are plenty of people on this board who have just as much production knowledge as you believe it or not

Neglecting transients, and saying as long as amplitudes are equal then the compression will affect the sounds equally is ridiculous and as wrong as it gets. The fact that people agree with the wrong answer here shows the integrity and knowledge of the troll committee here. Maybe because they are trolls first, producers last?

It only complicates the entire picture whilst the final result would be the following: Both sounds will be compressed identically because the compressor is triggered by the volume of both channels combined. /thread

Its amazing how little the TA troll comittee knows about Bus Compression. If 2 signals are hitting the same compressor, they are not impacting the compressor the same way at all, even if their amplitudes are the same in volume. One might be hitting it at its highest amplitude while the other might be coming off the end of its transient, so the two sounds likely see different amounts of compression at any given point. And then there is the sounds envelope, which affects the compression as well, which i'm the only one to address.

Stop misleading people with false info, when you dont know the first thing about compression. What are we at now, Troll Comittee failure #32 or #33? Go read up on compression and better yet go practice so you can stop sucking and misleading people who ask for help.

/thread

Amazing guide to compression

http://www.digitalprosound.com/2001...big_squeeze.htm


And then here is some Mix Bus Compression

http://www.soundonsound.com/sos/may...compression.htm

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Originally posted by Kismet7 Its amazing how little the TA troll comittee knows about Bus Compression. If 2 signals are hitting the same compressor, they are not impacting the compressor the same way at all, even if their amplitudes are the same in volume. One might be hitting it at its highest amplitude while the other might be coming off the end of its transient, so the two sounds likely see different amounts of compression at any given point. And then there is the sounds envelope, which affects the compression as well, which i'm the only one to address. /thread

you aren't taking into account how actual software compressors work and the math behind it. You don't understand the programming behind compressors which hinders you from understanding the big picture. You've basically posted compression 101 for idiots. If you find this informative, you are a noob.

And this is from a purely theoretical standpoint. From a practical setting, your lack of knowledge of the human ear and general mixing tendencies makes what you say sound that much sillier.

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Originally posted by RichieV you aren't taking into account how actual software compressors work and the math behind it. You don't understand the programming behind compressors which hinders you from understanding the big picture. You've basically posted compression 101 for idiots. If you find this informative, you are a noob. And this is from a purely theoretical standpoint. From a practical setting, your lack of knowledge of the human ear and general mixing tendencies makes what you say sound that much sillier.

I've been explaining what practically happens during a 2 signal bus compression, you've been off point throughout, and saying "yah as long as amplitudes are equal they are affecting the compressor and vice versa equally at all times, when thats only a piece of the puzzle in which each sounds dynamics would cause the compressor act different when two or more sounds are being bus compressed. Its sad that you went to school for this, but someone who is self taught is giving you a ride on the yellow school bus. Maybe you should have been paying attention in class.

And actually those guides, especially the one on compression is rather comprehensive. Start there.

do you understand how a compressor calculates the amplitude of a signal ? If you can't answer that question from a mathematical standpoint, you won't understand how a digital compressor actually decides when it is loud enough. It isn't as simple as being at a threshold.

I've already explained the practical use of a compressor, and how 2 signals and compressor would react to eachother, you failed to. Now you are bringing in mathetmatics standpoint, when your practical knowledge of the topic is nonexistent, nor did you attempt to explain in full what the OP was looking for an answer to. Being the seasoned troll that you are, you agreed with someone who gave a insufficient response instead.

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