wait what are you asking exactly?

Once again, don't put a compressor or limiter on the master output of your mix unless you have a very specific reason for doing so (e.g. mastering, which should ideally be done out of the sequencer anyway).

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quote:

Originally posted by Zombie0729 wait what are you asking exactly?

Like as far as taking the Kick and Clap. And Sidechaining them to get a tighter sound. The settings as far as Threashold. Attack. Ratio. Release.

In FL i saw one of the templates for club had compressor on main out put with settings.

Threashold -0.0
Release - 200
Ratio - 1:0:1
Attack - 15

I really want to make that kick thump and have it sounding tight with the percussion, hats and such... Feel like there is a lot extra dead air space that can be eliminated in my tracks.

Something that i can work with before i go head an go crazy with sounds and melodies.. I feel it would ideas flow easier to know that its set right.

yeah, don't put a compressor on your main output, that's only for when you're mastering and you'd probably want a multiband compressor for that job. instead, route similar sounding instruments to group channels and compress those (only if needed!). i wouldn't sidechain the kick and snare, sidechaining is more for subtle dynamic control...at least that's how it should be used... you can get the snare sounding good with proper level setting, panning, and eq.
anyway, for percussion, set up a compressor with a relatively high ratio, and set the threshold so the kick causes a gain reduction of about -3db. use a fast attack but not too fast or you'll lose all the transients and cause the percs to sound dull...maybe around 4-6 ms. release is up to you. lower to make it pump more, higher for a smoother sound. to tighten up the percussion further, follow this with a gate...set it to open/close just below the level of the kick, use a fast attack and experiment with release and hold to taste.
there really is no one magic setting. probably the most difficult part of production to learn is controlling dynamics (compression) and eq...i think mastering these two areas is the key to getting a professional sounding track.

I knew it would seem like i want a magical setting. I am not look for a setting to magically make my tracks sound good. Just wondering if its important to keep those sounds tight. I know its all preference and it can change from sound to sound. Just felt like they could sound tighter and tighter. Some of these tracks that i create sound dull and full with empty space. From my experience using compression it actually magically made it sound better. So from users with experience using Logic can understand what i am saynig about the sound being a lil muffled when its bounced to Wav

The best way is just to jump in and start using it, and see if you can get it to do what you want. If not, maybe come back after you've actually read some tutorials (search) on compression and finding out what each of the controls do, as, juding by your post above, you have no idea yet, which isn't going to help much - both a threshold of 0.0 dB and a ratio of 1.0:1 means no compression is taking place whatsoever.

Some places to start:

http://gonzoft.tripod.com/articles/a4/a4.htm
http://theprojectstudiohandbook.com/directory.htm
http://www.harmony-central.com/Effe...les/Compression
http://www.looperman.com/tutorials.php
http://www.soundonsound.com/articles (search for "compress")

___________________
Put an end to the loudness war. Don't limit or compress your mixdown until mastering; leave the master channel alone.

Contact me for mastering.

quote:

Originally posted by Atlantis-AR The best way is just to jump in and start using it, and see if you can get it to do what you want. If not, maybe come back after you've actually read some tutorials (search) on compression and finding out what each of the controls do, as, juding by your post above, you have no idea yet, which isn't going to help much - both a threshold of 0.0 dB and a ratio of 1.0:1 means no compression is taking place whatsoever. Some places to start: http://gonzoft.tripod.com/articles/a4/a4.htm http://theprojectstudiohandbook.com/directory.htm http://www.harmony-central.com/Effe...les/Compression http://www.looperman.com/tutorials.php http://www.soundonsound.com/articles (search for "compress")

No bro its not like that at all. I just gave you something i saw. I do read tutorials, but when i ask a question it is because i want to know from experience. i just gave an example of what i saw. I didnt want to come off like i dont use the "Search" Button at all. because i use it. Sometimes its easier to here it in a simple form from someone that is making the same music and know what i am reffering to. Those Tutorials in the Links are DEF. a great help. I am going to read them. and see what it can teach me. your help is much appreciated. I usually do trial and error before i read up and then read to fix my mistakes. This is my way of doing things. Not everyone has the patience to read read read. I want to get to the point which might not be the right way, but a way that ive always done. Sorry if i bothered you with my post.

A good comp would have a visualisation of the incoming signal that you can watch. The settings of the comp are very dependant of the incoming signal and their aren't any fixed settings for the comp.

What is aften done is that the kick causes the most compressor responce. If you want to do it the easy way make sure your kick is a lot loader that the rest of the incoming signal and adjust your threshhold to react on just the kick. You should see an indicator jumping up and down on time with the kick, adjust the threshhold to just under that mark. The rest for me at least is just going by ear, whatever sounds good.

kind regards,

Charlie Darwin

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Music is as universal to people as breathing. We've probably been at it since before we even started talking. Immaging two cavemen smashing away at a peace of flint to make a spearhead. It wouldn't take long for them to learn te synchronise the sound. And there you have it, the words first percussive band.

Music has survived wars, famines, the plague and many other things and has evolved with man across many cultures. Dance music is just the next step in the evolutionary chain. My guess is that it will probably be with us untill we are extinced.

This is a ridiculous thread. You need to search for the information yourself if you wanna get anywhere. There are NO typical settings for compressors (as Darwin said), you should base all the compression settings and everything else on your ears. READ READ READ. These questions that are asked over and over are getting very monotonous. Not tryin to be rude, but finding the information for yourself is the best advice I can give.

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"do0d just think how much those tities would bounce if they were sidechained"

WHY Does it have to be a pointless or ridiculous thread. I wanted opinions and to see what people are using.... I understand it might have been asked, but not all questions have the same goal. Its not like i am saying hey , What is a compressor and i hear its good. Tell me what to do. I am using compression on certain sounds as it is just using my ear for everything i do. I already say i will read, but wanted OPINIONS.. NOT CORRECT EXACT KNOWLEDGE. I am aware of there not being any rules to music, but there are some guidelines to sometimes stick to that are PROVEN to work very well.

Compression is used to limit the dynamic range of an instrument.
You can use it emphasise the 'snap' (the initial punch before compression starts) of a kick or snare, but you can also use it to reduce these snaps (which is more common) or other (sudden) volume spikes.

I personally prefer using the ultrafunk sonitus fx compressor for my compression for all of the above mentioned possibilities.

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