Quik Tipz: Top Compression Methodz Revealed

Quik Tipz: Top Compression Methodz Revealed
(Compliments of MPC Sounds.com website)

Ready to achieve optimum, punchy, in-your-face, hip hop compression settings for a kick? a snare? bass? percussion? Learn what compressor settings platinum hip hop producers use below...

Ratio & Threshold settings dictate amount: Heavy weight producers use Ratio settings 4:1 to 7:1 for most hip hop applications. Ratios 8:1 & above are more effective for limiting, not compression. For Threshold settings, the Pro's use anywhere from 10db to 15db of gain reduction on kicks, snares, percussion, bass, or guitar. After you set the ratio and threshold, the real power comes in with your attack and release settings...

Attack times dictate snap: To ensure the most punch per track in your mix, you need to assign each track it's own compressor attack settings one at a time. Starting with the kick, set your attack to its slowest possible setting. Next, increase the time of the attack until the kicks timbre dulls slightly. Once you've reached this point, decrease the attack time slightly to un-dull the kick timbre and leave it at that setting. Repeat this method for all other tracks you wish to add optimum punch to!

3) Release times dictate recovery: Now that you've optimized the attack for each individual track needing punch, now you must assign each track its own release setting too. Again, starting with the kick, set your release to its fastest possible setting. Next, decrease the time of the release until you hear the compression fully recovers the kick's volume before the next kick pulse begins. Repeat this method for all other tracks needing optimum volume recovery!

For Threshold settings, the Pro's use anywhere from 10db to 15db of gain reduction on kicks, snares, percussion, bass, or guitar

Im sorry dude, but if there is one sure way to spot the inexperienced - look for them constantly referring to 'the pros' and what 'the pros' do.. I mean, go to the industry respected Sound on Sound and try and find a single referral to 'the pros' in one of their technique articles..!

Its probably the equivalent to the fact that pro gear will never have the word Pro in the title!

Okay, im being cynical.. As a VERY basic and naive set of generalisations, what they say can be used as a guide. Its just a shame they present it in such a non credible manner...

^^^^
Akai PROfessional..

i don't think professionals would spell methodz and tipz like that

or learn how to compress from a forum

so this is obviously aimed at people just learning about compression

who like me found the tipz useful

d_loc wrote:i don't think professionals would spell methodz and tipz like that

or learn how to compress from a forum

so this is obviously aimed at people just learning about compression

who like me found the tipz useful

CoSIGN.....................


Nuttin Wrong wit Learnin' i Learn Suttin' ErDay and I've Been on MANY Album Projects..........................


Itz All Good Tipz n Proz ETC.............



.. .. ..

That shit is wack!!!!!!!!!!!!!!!!!!!!!!!!!!!


Compression and EQ is done by the ears not by numbers. Each sound will need it's own settings depending on the song........I'm a Producer whom has had alot of success but the Pro's are people like Quincy Jones,Dre,Teddy Riley,Rodney Jerkins,Neptunes (Great Songs)Babyface,Underdogs,Timberland.

Producers on there way up are Storch (whom has got what it takes to be the next jerkins, but i would say rich harrison whom has a tight sound and great songs is like Kevin Shakspear briggs (Man of the moment) He will be gone within the next 15 months.

I had a big hit with 3lw No More and people have no clue how hard the industry is.

People on this forum whom make beats yes beats are not **** record producers..................they are **** beat programmers!!!!!!!!!!

To many people think they are a producer........

A Producers job

To finish the product no matter how you get there!!!!!!!!!!!!!!

beats,vocals,engineering,song,melody,mixing,arrangement,keeping the vibe,knowning the right session guys for the job, hitting the deadline, bring out the artists vision!!!!!!!!!!!!

Co-sign

You get props for that "no more" song by the way!

I found this hilarious: "For Threshold settings, the Pro's use anywhere from 10db to 15db of gain reduction on kicks, snares, percussion, bass, or guitar."

10db to 15db reduction! WTF!

Macman, do you get royalty money for "no more"? Or did they pay you some money up front?

ME Personally I Don't Use Presets FOR ANYTHING But TRUTH BE TOLD
Some Guidence For Those Not in the Know NEVER Hurts..................


EACH SOUND or SAMPLE IS DIFFERENT

EACH TRACK IS DIFFERENT



UNFORTUNATLEY EACH PRODUCER or IN SOME CASES IS NOT DIFFERENT or in MANY CASES BRAVE ENOUGH TO BE .................................... .. .. ..



But this IS A ThREAD ALL IT OWN!!!!!!!!!!!!!!!!!!!!!!!!!!!




.. .. ..

For all intents and purposes, I am a pro as I get paid to create, mix, produce and or master music...that being said I'd be happy to share any knowledge I have on most subjects including compression. Problem is, that while there are ranges of compression, limiting, etc...that work for a particular application like vox or drums there are no hard fast rules as input level and EQ all make a difference where compression ratios are concerned. In addition, each different sample will react differently when run through a compressor. The only "rule" I have is that if you can hear the compression, you've added too much unless it's being used as an artistic effect - guitar is most often done this way. The biggest mistake I run across when mixing or mastering amatuer work is over compression....It's very easy to squeeze the life (dynamics) out of a track. This gives the mastering engineer no where to go when leveling your different tracks. Also if he needs to add EQ, and you're already pegging the meters, the process becomes one of cutting all frequencies other than what he needs to add. This is not nearly as easy to do. Using your ears to understand compression (as others have already said) is the first step, but these days there also visual aids you can use...If a track appears as a solid wav form in your computer it is over compressed. There should be visible peaks and valleys even when the track is reduced to it's shortest visible length. While it's not a fix - all - load some well produced, high dollar tracks into your machine and compare the wave forms visually. It can be educational. While I agree with the folks who insist that mixing is not a visual art, I have also had the opportunity to re-master recordings done in the eighties in some well respected pro houses. It was surprising how often Left and right stereo were way out of balance, perhaps due to poor amp leveling or even just the engineer having an ear blocked or something....Compression is one of the most over used, least understood tools in your bag of tricks... spend some time just tweaking and listening and try not to overdo... With the exception of limiting, try to avoid using compression when tracking and instead add it in the final mix. If you're creating a CD compilation, leave some headroom for the mastering engineer...

Sony paid me a upfront Fee only. The mix I produced went on to be the main Urban club mix and Main Radio edit and the Main urban U.S club mix.

It was hard to follow up with but have been tryin to work my own artist for about 6 months now........and that shits hard. See i work alone and have to make choices from diff'rent views of the project.....

Making your own artist is awsome and creative but hard hard work. Even If you have that killer hit (what u gonna do next!!) The label then asks you .where are the other 3 singles.

Stay focused is my answer!!

Also remember when using Comp/Eq.

Buss compression is the most lethal of them all. This will pop your shit out the speakers.

Always buy good equipment and that means


NO PLUG IN'S

NO BEHRINGER

NO SAMSON

NO PHONIC

Drum Compressors only

DBX 160X
BSS 401
Alan Smart C1 (SSL Design)
API

EQ

Drums SSL G Strips
Great River (Great on Snares only)
API (BAD ASS EQ)


All you people out there with a MPC need to invest some money into your game.

This what i spent for vocals

SE ELEC GEMINI MIC
SSL G383 DUAL MICPRE/EQ
UNIVERSAL 1176 (very important for vocals)
MOTU HD192 (IMPORTANT INTERFACE ) 120DB SIGNAL TO NOISE

DRUMZ

ALAN SMART
SSL G383 (WHEN VOCALS ARE COMPLETE)
AMEK BC2 BROADCAST CONSOLE 32 CH)

Sounds

MOTIF ES
TRITON RACK
5080 (WILL SELL SOON)
STUDIO ELEC SE1X (BASS ONLY)
MPC3000 LE

MONITORS

ADAM P11'S (THESE ARE AMAZING)

I ALSO SPEND 5000.00 ON MY ROOM (ACOUSTICS/ROOM WITHIN A ROOM)

macman wrote:Also remember when using Comp/Eq.

Buss compression is the most lethal of them all. This will pop your **** out the speakers.

Always buy good equipment and that means


NO PLUG IN'S

NO BEHRINGER

NO SAMSON

NO PHONIC

Drum Compressors only

DBX 160X
BSS 401
Alan Smart C1 (SSL Design)
API

EQ

Drums SSL G Strips
Great River (Great on Snares only)
API (BAD ASS EQ)


All you people out there with a MPC need to invest some money into your game.

This what i spent for vocals

SE ELEC GEMINI MIC
SSL G383 DUAL MICPRE/EQ
UNIVERSAL 1176 (very important for vocals)
MOTU HD192 (IMPORTANT INTERFACE ) 120DB SIGNAL TO NOISE

DRUMZ

ALAN SMART
SSL G383 (WHEN VOCALS ARE COMPLETE)
AMEK BC2 BROADCAST CONSOLE 32 CH)

Sounds

MOTIF ES
TRITON RACK
5080 (WILL SELL SOON)
STUDIO ELEC SE1X (BASS ONLY)
MPC3000 LE

MONITORS

ADAM P11'S (THESE ARE AMAZING)

I ALSO SPEND 5000.00 ON MY ROOM (ACOUSTICS/ROOM WITHIN A ROOM)

No offense, but this is completely ridiculous, where did you get your facts?
No Plug-ins???? Sure alot of people prefer analog gear to plug-ins, me included, but I've also heard a lot of 'professional' mixes done entirely digital. You have too even if you don't know it.
I get great results from certain plug-ins, I really think convolution has changed digital mixing. To say no plugs is completely ridiculous.
I agree with the no behringer, phonic and samson tho.

"Great River (Great on Snares only)"

How can you possibly say ANY eq is only good for one application?

"UNIVERSAL 1176 (very important for vocals)"

This is amusing!!

"MOTU HD192 (IMPORTANT INTERFACE ) 120DB SIGNAL TO NOISE"

Important???!? Please elaborate.

"I ALSO SPEND 5000.00 ON MY ROOM (ACOUSTICS/ROOM WITHIN A ROOM)"

Do you actually know what you are doing? Or did your dad buy all this gear for you for xmas?
Judging from from the fact you only have one microphone, I assume you are only ever recording one source at a time? Presumably vocals?
A room inside a room designed studio is usually built to
a) Stop exterior noise coming into the control room ie. a loud band in the live room (this is not the case as you only have one mic tho, right?)
or
b) To stop noise leaking out of the control room (this is rarely the case tho because why would you bother)
or both.
In both cases 5000 is not going to get you very far at all. I'm assuming you got the 'room inside a room' to have a better mixing environment?
You could have probably got better results from just treating your room, and it wouldn't have cost half as much.

I appologise for getting at you but it pi*ses me off when people come on here saying things like:

"All you people out there with a MPC need to invest some money into your game."

Its not about money or gear, its about knowledge!

You put a good engineer in a room with bad gear and you will get a better result than a bad engineer in a room with the best gear in the world. Thats a fact.

So what mixing board do you use? most people on here will own a mackie console which is whack.

If you know and have the knowledge to understand what a URIE 1176 is and what it came famous for then you would understand why i talk about that equipment.........reason that it does a job and does it well.

Plugs are good for some applications but most records you here will be gone back into a SSL board or API.

As far as the HD192 it's called headroom (something that is very important when recording and mixing.

I only need one Mic for vocals it's about what you do with the singer when they are in the booth.............i also spent 700.00 on the acoustics in the booth to get the right balance between the live and the dry.

I Have 3 tubes tuned to the fundermental of the room.

Also another whack sound on plug's is reverb!!!!!!!!!!!!!!

try yourself a TC M3000 or a PCM 81 then you will understand what a reverb really is.

I was lucky enough to do a few sessions with Harvey Mason If you know who that is (B2K/BABYFACE/MJ/OMARION/JOJO/HOUSTON..... Now when you get the chance to work with people like that you know your game is tight.

To many people think cause they own a PC or mac with some software (they all think they can call it a studio) oh and they now are producers cause they own a computer.

macman wrote:So what mixing board do you use? most people on here will own a mackie console which is whack.

If you know and have the knowledge to understand what a URIE 1176 is and what it came famous for then you would understand why i talk about that equipment.........reason that it does a job and does it well.

Plugs are good for some applications but most records you here will be gone back into a SSL board or API.

As far as the HD192 it's called headroom (something that is very important when recording and mixing.

I only need one Mic for vocals it's about what you do with the singer when they are in the booth.............i also spent 700.00 on the acoustics in the booth to get the right balance between the live and the dry.

I Have 3 tubes tuned to the fundermental of the room.

Also another whack sound on plug's is reverb!!!!!!!!!!!!!!

try yourself a TC M3000 or a PCM 81 then you will understand what a reverb really is.

I was lucky enough to do a few sessions with Harvey Mason If you know who that is (B2K/BABYFACE/MJ/OMARION/JOJO/HOUSTON..... Now when you get the chance to work with people like that you know your game is tight.

To many people think cause they own a PC or mac with some software (they all think they can call it a studio) oh and they now are producers cause they own a computer.

You seem to have a pre concieved notion that the more expensive gear you have the better 'your game'.
This is laughable.

"I was lucky enough to do a few sessions with Harvey Mason If you know who that is (B2K/BABYFACE/MJ/OMARION/JOJO/HOUSTON..... Now when you get the chance to work with people like that you know your game is tight."

Sitting in on a session with HM does not mean you know your sh*t BTW.

"To many people think cause they own a PC or mac with some software (they all think they can call it a studio) oh and they now are producers cause they own a computer."

Please tell us at exactly what stage do you call a room a studio??
When you add ADs to your DAW?? When you have an SSL??
Or might it be when you produce professional sounding mixes regardless of gear.

"So what mixing board do you use? most people on here will own a mackie console which is whack. "

I use an amek galileo, you probably think this sounds sh*t too because it doesn't say SSL on it.

"As far as the HD192 it's called headroom (something that is very important when recording and mixing."

Doesn't make it any more 'important' than other ADs.
Is it important to use MOTU instead of Apogee for instance?!?

"Also another whack sound on plug's is reverb!!!!!!!!!!!!!!

try yourself a TC M3000 or a PCM 81 then you will understand what a reverb really is."

Have you tried convolution reverb plug-ins?
I use Lex 960L and I've used the M3000 many times, but convolution stands up against them all. Try Waves IR1 or Altiverb.
They are pretty power hungary but they sound amazing.
Or are you afraid to try anything that you didn't see Harvey M using?!!?

"If you know and have the knowledge to understand what a URIE 1176 is and what it came famous for then you would understand why i talk about that equipment.........reason that it does a job and does it well."

I do know why the 1176 is famous, do you ??
To say "UNIVERSAL 1176 (very important for vocals)" just shows what an amateur you really are, every single voice you record will be different and to suggest that one compressor is always very important for vocals is juvenile. Ever tried it on bass??

"I only need one Mic for vocals it's about what you do with the singer when they are in the booth.............i also spent 700.00 on the acoustics in the booth to get the right balance between the live and the dry."

Live and dry in a vocal booth ?!? You are just embrassing yourself now.

"I Have 3 tubes tuned to the fundermental of the room."

The fundamental, do you mean? I'd love to hear this please explain how this works for those that don't understand.


You really did just learn engineering from a magazine! And now I'm even more convinced that your dad bought you all that stuff for christmas.
Please don't come on here boasting about how much gear you got and trying to make others feel like sh*t because they only own an MPC.

DJ Shadow's 'Endtroducing' was made entirely on and MPC. It was eventually mixed by jim abyss and partly by Automator but that wasn't before Shadow had interest in it.

You are a fool to think that gear makes you a good engineer.

over 10k on outboard and 1 mic???

kinda like buying a 60, a 3000, 1000, a 2000, a 2000xl, a 2500, a 4000, an asr 10 and only owning one record