![]() ![]() There is a good possibility there is a HDD issue. I really had to pull out my whole bag of tricks to get this right for a vinyl cut, whereas a lot of more up to date producers (in skill terms) raw or not, the music requires less work, standards have raised etc.Thanks for the input, yes my next step is to abandon this PC all together. It was when doing this project I realised just how much work their mastering engineers have done to make their records sound great. I just had to master some very well known producer duo`s music who have been at it since the 90`s, and whilst the music is great, their production is still very much in the 90`s frame of fidelity. So the only real change is the weight of the processing is more evenly distributed amongst producer, engineer, mastering engineer these days. There was definitly something much more exciting going on with the raw and dirty sound of the 50s rythm'n'blues, 60s to early 70s rock and early 90s techno / acid / whatever productions.īut you also have to look at the fact that mastering engineers were doing gods work in a lot of these cases to get this shit to sound right at the end of process. There was definitly something much more exciting going on with the raw and dirty sound of the 50s rythm'n'blues, 60s to early 70s rock and early 90s techno / acid / whatever productions. Now this being said, I have to agree on the bypass button not seeing enough use on current music production - but you could say the same for most types of processing (eq, pitch corrrection, quantization, delay lines etc), and I have to plead guilty of processing abuse myself. And of course it has it's use as a sound design tool too, specially on percussive sounds, but that's another topic. But it still has some use case - tightening up some fat but loose bass patch, taming wild transiants or filter resonances, and fixing a few envelop mismatches (ie getting either a bit more attack or a bit more sustain etc) -, plus of course some bus compression work to help gel things togethers. You certainly have much less need for compression when it comes to electronic sounds with a more limited and much more predictable dynamic indeed. As Borg states, proper compression (except of course for deliberately obvious overcompression effects) is supposed to be quite subtle, typically a case of "you don't hear it's there until you bypass it", so quite the opposite of the "put a compressor on it" syndrom you mention You really need a bit of technical knowledge in audio and signal processing to understand what it does and how the different settings interact with each other and with your audio signals (both the processed one and the sidechain, whether there are the same or not) and quite some practice time (I mean really dedicated "practice" time - like you would spent time doing specific exercises on an instrument) with some decent tutorial to start and develop know-how and feel and understand why, where and how to apply it (Steve's tutorials like this one are certainly amongst the most useful you can find FWIW). They were (at least for me) always those "voodoo" things that just really pros cold set correctly.Ĭompression is indeed not the easiest tool to learn and properly use. The reason is simple, I do not know how to used them properly. I totally gave up using compressors around 5-6 years ago. In my experience, if you do not deal with recording real-life instruments (guitar, piano, vocal.), the best feature of a compressor is the bypass button Isn't it loud enough? Put a compressor on it. Stuck in a middle of a track? Put a compressor on it.ĭon't have any ideas? Put a compressor on it. These days, for me, it seems that it is the answer for every single production related problems. Not a fan of the sound of "overcompression" at all.Īctually, since the Benny Benassi track (can't even remeber the title of it) the art of compression has changed. I use UADs besides the built-in Ableton stuff. Old, mono, have to patch stuff into it, bah. I keep on trying though.īelieve it or not, I own a real Pultec, it sits at the bottom of my third rack, hardy used these days. Of course you can get very audible fx out of it when overdoing it, but it's primary function is much less obvious to the untrained ear, too subtle and usually not as impressive as expected, especially if you don't know what you're actually trying to achieve. I guess the uninitiated compressor abuser expects too much of such a device. it's what comes out of your speakers, right? Plugins or real deal? Not that it matters, just interested. A Pultec (to control the lows and highs) with a Studer at the end do the math for me. ![]()
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