quote:

Originally posted by MrJiveBoJingles Maybe we can stop talking about this until he clarifies what he meant.

Dude, even if he says he sent two tracks summed to a limiter, The different transients would cause different amounts of compression between the two sounds, as would the frequencies with the most amplitude get more compression than the other frequencies. Either way, you're completely off. Study up on compression, frequencies, and transients some more.

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Originally posted by Kismet7 Dude, even if he says he sent two tracks summed to a limiter, The different transients would cause different amounts of compression between the two sounds

But he never said they had different transients, either.

Don't accuse me of being ignorant when this argument just comes down to a difference of interpretation.

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Originally posted by Kismet7 RichieV keep trying, defo need moar practice

Is it really that hard to understand. Read his first line. He doesn't need to clarify.

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Lets say you have 2 signals, both peaking at -6 db and going to the master channel

It was a theoretical question so what you might think is proper practice is quite irrelevant in this case. You are wrong so lets move on.

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Originally posted by MrJiveBoJingles Don't accuse me of being ignorant when this argument just comes down to a difference of interpretation.

There is no room for interpretation. Kismet is being daft.

Good thread though, making me think more about frequencies, transients, and gain staging some more.

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commercial and underground electronic music (house/techno/trance/other) will surpass today's hip hop/pop/rock/country in worldwide interest...if it has'nt already.

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Originally posted by MrJiveBoJingles But he never said they had different transients, either. Don't accuse me of being ignorant when this argument just comes down to a difference of interpretation.

Logic would say they are different. They are two different frequency ranges, how could you by default assume they have the same transient? One is slower one is faster...thats is what the frequency blatantly tells you. By default you should assume they are different. Anyhow, i'm sure you could go on for hours, but ill stop you here.

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commercial and underground electronic music (house/techno/trance/other) will surpass today's hip hop/pop/rock/country in worldwide interest...if it has'nt already.

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Originally posted by Kismet7 Logic would say they are different. They are two different frequency ranges, how could you by default assume they have the same transient? One is slower one is faster...thats is what the frequency blatantly tells you.

Transient refers to the shape of the amplitude over time, not the frequency content of the sound. You can easily have a high sound with a slow transient or a low sound with a fast one.

Kismet fails...once again.

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Originally posted by meriter Your primary focus should be making good music. That's all. No one gives a shit how you do it. And the people that do are fags.

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Originally posted by MrJiveBoJingles Transient refers to the shape of the amplitude over time, not the frequency content of the sound. You can easily have a high sound with a slow transient or a low sound with a fast one.

This is true, but to assume that two sounds have the same exact transient is ridiculous. The chances that they dont have the same transient are far greater than having the same. Even a 1 ms or two between the two sounds would impart their own dynamics when compressed on a bus/master. So your idea that as long as they are the same amplitude = equal compression = wrong, given that the transients will also affect the compression, and 99.99999% chance they are different, which makes you about 99.99999% wrong

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commercial and underground electronic music (house/techno/trance/other) will surpass today's hip hop/pop/rock/country in worldwide interest...if it has'nt already.

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Originally posted by Kismet7 So your idea that as long as they are the same amplitude = equal compression = wrong, given that the transients will also affect the compression, and 99.99999% chance they are different, which makes you about 99.99999% wrong

I already stated I was assuming that they had the same transient, for simplicity's sake. It's not likely to happen in the real world, but I was treating the example in as simple way as possible for the sake of helping the guy figure out the basics.

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Originally posted by Kismet7 This is true, but to assume that two sounds have the same exact transient is ridiculous. The chances that they dont have the same transient are far greater than having the same. Even a 1 ms or two between the two sounds would impart their own dynamics when compressed on a bus/master. So your idea that as long as they are the same amplitude = equal compression = wrong, given that the transients will also affect the compression, and 99.99999% chance they are different, which makes you about 99.99999% wrong

you obviously understand very little on how a compressor works. The gain reduction isn't immediate, it doesn't happen in 1 ms. It takes an average over a number of samples which allows the lower frequencies ample time to reach maximum amplitude. You need to learn some fucking manners.

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Originally posted by MrJiveBoJingles I already stated I was assuming that they had the same transient, for simplicity's sake. It's not likely to happen in the real world, but I was treating the example in as simple way as possible for the sake of helping the guy figure out the basics.

Well...you left out the basics. Basics would be letting him know that the length of the transients of each sound also affect the compression. Anyhow chalk it up as (-) and lets move on.

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commercial and underground electronic music (house/techno/trance/other) will surpass today's hip hop/pop/rock/country in worldwide interest...if it has'nt already.