Using compression to SLAM!

[KT1]

With all the talk of preserving transients i wanted to start a thread to talk about how fun limiting and higher ratios is in creating an interesting effect in para. I love tape saturation on the slammed track =. It creates a real radio vibe smoothness to the audio. Well it's slammed so yeh..

Its a great effect - just wanted to know what others used extreme setting for?

[chris carter]

It really depends on the sound and the compressor.

Parallel compression is the obvious thing of course. Or doing certain effects like the radio/telephone effect and stuff.

One thing that I do that probably a lot of folks don't think about: On a lead vocal sometimes I get a record where the vocal isn't cut really clean. There might be some clothes rustling (nylon jacket, etc.) or other noises. Or maybe the artist does a lot of lip-smacking/breathing stuff. And sometimes it can be frustrating. But if the emotion of the record warrants it, sometimes instead of fighting that stuff I'll just slam the snot out of the vocal with an optical compressor, set to the highest ratio and compress like 15dB or more. And it pulls all that crap up and kind of melds it into the lead vocal. Sometimes that kind of 'dirtying up' is the thing that takes the song over the top. Anyway, that one comes up every once in a while.

Other than that, I can't think of anything where it's typical. It's always a case by case basis. what's the sound... what's the comrpessor... or that will work nicely kind of thing.

Oh, here's a not-so-uncommon one: I'll take a delay with a really high FB and slap a compressor on it with a really high ratio taking of a ton of dB. Then I might do a throw to that on a word from the lead vocal, maybe right before a break or a new section of the song. Then I'll ride the return, so the return fader is all the way down and I'll ride it up at the point I want because now the delay is essentially going on almost forever without changing volume. So it might be a measure later, it might be four measures later, I can ride up this almost ghostlike sound of whatever word I delayed and then fade it back down. Tom Lord-Alge has this effect in a lot of his slick mixes.

[T. Gundersen]

Originally Posted by chris carter

Oh, here's a not-so-uncommon one: I'll take a delay with a really high FB and slap a compressor on it with a really high ratio taking of a ton of dB. Then I might do a throw to that on a word from the lead vocal, maybe right before a break or a new section of the song. Then I'll ride the return, so the return fader is all the way down and I'll ride it up at the point I want because now the delay is essentially going on almost forever without changing volume. So it might be a measure later, it might be four measures later, I can ride up this almost ghostlike sound of whatever word I delayed and then fade it back down. Tom Lord-Alge has this effect in a lot of his slick mixes.

Really liking this one! Can be used on quite an array of different styles of music too. Thanks for sharing Chris.

I sometimes like doing a parallel thing with the Softube FET comp on all buttons in mode, compressing all the way down close to 20 dB reduction and blending that in. Often with a fast attack, a tad lookahead on the sidechain and release set according to the tempo of the song and flow of the rap. Might very well EQ it a tad differently before blending it in, tucking it back underneath the lead.

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[KT1]

Originally Posted by chris carter

It really depends on the sound and the compressor.

Parallel compression is the obvious thing of course. Or doing certain effects like the radio/telephone effect and stuff.

One thing that I do that probably a lot of folks don't think about: On a lead vocal sometimes I get a record where the vocal isn't cut really clean. There might be some clothes rustling (nylon jacket, etc.) or other noises. Or maybe the artist does a lot of lip-smacking/breathing stuff. And sometimes it can be frustrating. But if the emotion of the record warrants it, sometimes instead of fighting that stuff I'll just slam the snot out of the vocal with an optical compressor, set to the highest ratio and compress like 15dB or more. And it pulls all that crap up and kind of melds it into the lead vocal. Sometimes that kind of 'dirtying up' is the thing that takes the song over the top. Anyway, that one comes up every once in a while.

Other than that, I can't think of anything where it's typical. It's always a case by case basis. what's the sound... what's the comrpessor... or that will work nicely kind of thing.

Oh, here's a not-so-uncommon one: I'll take a delay with a really high FB and slap a compressor on it with a really high ratio taking of a ton of dB. Then I might do a throw to that on a word from the lead vocal, maybe right before a break or a new section of the song. Then I'll ride the return, so the return fader is all the way down and I'll ride it up at the point I want because now the delay is essentially going on almost forever without changing volume. So it might be a measure later, it might be four measures later, I can ride up this almost ghostlike sound of whatever word I delayed and then fade it back down. Tom Lord-Alge has this effect in a lot of his slick mixes.

^^ This is exactly the type of thing i was looking to hear. Awesome! I also use the mix stage on the looptrotter monster..I actually love a full limit ratio on top of the clean signal and then to take the clean signal and comp with a 4:1 ish ratio..It has a clean airy sound i dig! I then add some tape saturation - mild only. Kramer does a decent one for this. Less aggressive.

Great on drums/vocals..anything!

[BCFoolin]

I mostly just slam anything that is parallel and sometimes Dubs and Stacks. If I have 3 takes of a track sometimes i will pan 2 hard left and right and slam the snot out of the center take. This allows for that sound to have presence in the middle while not having to fight against the transients of vocals, drums etc. Of course it will most likely still need to be EQ'd

[KT1]

Originally Posted by BCFoolin

I mostly just slam anything that is parallel and sometimes Dubs and Stacks. If I have 3 takes of a track sometimes i will pan 2 hard left and right and slam the snot out of the center take. This allows for that sound to have presence in the middle while not having to fight against the transients of vocals, drums etc. Of course it will most likely still need to be EQ'd

Not sure i understand the point about the middle. If it's in the middle it's taking space slammed or not. Sure its shape is changing and the transients you choose are making it through..

Either way thanks for chiming in.

[chris carter]

Originally Posted by KT1

Not sure i understand the point about the middle. If it's in the middle it's taking space slammed or not. Sure its shape is changing and the transients you choose are making it through..

Either way thanks for chiming in.

I do this sometimes. Like on a hook where I have some important midrange music stuff happening in the middle so I take all the vox and pan them all out of the center hard l/r. But then I find I might need a little bit of an "anchor" so I'll put one vocal in the center and I might do exactly what he was talking about - I'll crush it with compression to almost oblivion (and maybe even roll of a little lows, mybe not) and then just blend that in with the rest of the hook. Kind of sorta a mid/side parallel compression thing with a hook, except you are blending a separate take instead of the same take. It can sometimes be just the ticket!

[BCFoolin]

Originally Posted by KT1

Not sure i understand the point about the middle. If it's in the middle it's taking space slammed or not. Sure its shape is changing and the transients you choose are making it through..

Either way thanks for chiming in.

Just try it (or not). But it's kind of hard to understand something that you haven't even tried to hear yet...

[KT1]

Originally Posted by BCFoolin

Just try it (or not). But it's kind of hard to understand something that you haven't even tried to hear yet...

Oh no doubt! Don't get me wrong. Not saying it's false just trying to understand how it would work. Like i said thanks for chiming..any trick to keep in mind and to try out is great fam!

Bless

[dublave]

I'm really enjoying this thread so far, hope people keep it coming!

[BCFoolin]

Originally Posted by KT1

Oh no doubt! Don't get me wrong. Not saying it's false just trying to understand how it would work. Like i said thanks for chiming..any trick to keep in mind and to try out is great fam!

Bless

Word. I also have a friend who parallel compresses his stereo bus without vox. I don't personally like this method but I'd be lying if I said he doesn't achieve a thick punchy sound... sometimes

[Storyville]

Here's a fun one.

Drum buss, or something rhythmic.

Gradual attack, gradual release, but really low threshold and substantial ratio. Blend in parallel.

Fun part: Ride the release. Turn the knob in time with the song to make SWOOSY NOISE!!

[KT1]

Originally Posted by Storyville

Here's a fun one.

Drum buss, or something rhythmic.

Gradual attack, gradual release, but really low threshold and substantial ratio. Blend in parallel.

Fun part: Ride the release. Turn the knob in time with the song to make SWOOSY NOISE!!

You should know that i like this one Matt ..This is my standard comp on the buss routine. I dont ride the release ..but i ride the gain going in. Will defo try automate the release.

[3rd Degree]

Sometimes I will have the rapper do an extra adlib, often delayed, but maybe on time. I often compress this very heavily but keep it low in the mix. The whole idea is totally for effect to begin with so the super heavy compression is for effect as well, not something I would do on an average track.

I don't necessarily "slam" my bass but it is not uncommon for me to really go pretty heavy on this. However, this is in the beat making stage so I will adjust my attack of the actual synth first. I often layer two identical synths with the lower one having a lighter attack than the higher. I then use heavy compression after I am happy with all my settings. I will use a 4:1 or 6:1 ratio with my threshold set to where I am getting 10-15dbs of reduction, sometimes even more. I start with a very slow attack and release. I will shorten the release until I can noticeably hear it's effect. I will stop there. The compression helps me get the two tracks to mesh and the attack setting helps me make up for the slower attack of the lower bass track being slower. That's a technique I use quite often.

[Storyville]

Originally Posted by KT1

You should know that i like this one Matt ..This is my standard comp on the buss routine. I dont ride the release ..but i ride the gain going in. Will defo try automate the release.

Riding into the comp is a great way to keep the tone even (or uneven ) across the bus. And it can have a somewhat similar effect. That's essentially what I was doing in "The Mix", except I was using the "headroom" control on the UBK to do it. Same thing though basically. Riding the release has a slightly different effect - it's good for creating a "pulling" effect.

[KT1]

Originally Posted by Storyville

Riding into the comp is a great way to keep the tone even (or uneven ) across the bus. And it can have a somewhat similar effect. That's essentially what I was doing in "The Mix", except I was using the "headroom" control on the UBK to do it. Same thing though basically. Riding the release has a slightly different effect - it's good for creating a "pulling" effect.

So dope! Love what it brings! Anyone rocking live drums needs to try this ...I'm obsessed

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