Parallel compression can add energy and intensity to your drum tracks. It can help them cut through the mix while retaining a natural, organic sound. I find this technique works best on acoustic drums, but I've successfully used it on programmed drums too. To learn how to apply parallel compression to your drum tracks, watch the video below The Attack Setting. In this first example I will use the standard compressor that comes with Cubase to compress a kick drum. Drop a compressor into your kick drum channel, or group if you are using more than one kick sample to make your drum Drum Compression. Download Free Drum Package: Download! Compressing Drums. Once I find a proper setting using the first compressor choice, I'm either satisfied and on to the next thing or curious to see how another compressor will react with similar settings. Once I set the next compressor, I will match the output levels to the bypass.
Pictured here on Waves' CLA76 is the classic FET-style exploding drum room compression setting. Notice the slowest attack setting, fastest release setting and the All-Buttons-In ratio. This type of setting will push the drum hits down and let the ambience of the room quickly explode, giving a rock-n-roll pump to the room Send all your drums audio tracks to the same auxiliary channel via a bus and then apply some overall light compression to everything. With each drum/channel having different types of compression and settings, this can really help glue them back together and sound as one. I hope you have enjoyed this article on kick drum compression Kick Drums that Cut Through any Mix. I guarantee that using this compression setting, your kick drums will officially be cutting through your mix.All that hard work spent EQing your kick will now become audible to your listeners.. This is why I take care of EQ first and then use compression to finalize my track.. As much as I'd love having my instruments showcase their full.
But compression can also be used creatively as well, to deliberately alter the envelopes of notes, changing the character of the sound. Probably the most familiar application of creative compression is its use with drums, to pump up or or tighten up the sound of an acoustic drumkit, where it can be applied subtly or as a more obvious effect Here are some solid settings to start with. Ratio: 3:1; Threshold: As low as possible in most cases, with the compressor releasing towards the end of sustained notes.Pay attention to your meter! For subtle compression you'll want 3-5 dB's of gain reduction Setting up parallel compression on drums is really that easy. You can use this technique on ANY instrument including vocals, bass, electric guitars, whatever! I shot a video and posted it below so you could see and hear how I set this up on my drum tracks. Take a watch and comment below if you have any questions, or if you use parallel. Kick drum compression recipes. If I have a very consistent drummer with great dynamics then I often will skip compressing the kick drum at all. Sometimes you need to bring up the sustain or level out an uneven performance or you might be looking for the ultra compressed modern sound. Reduction level is the amount your kick drum is being.
Even in this case, you will probably only need light compression on the kick drum and possibly the snare. The kick drum is something you want to stay pretty steady throughout the mix, so if you have a drummer that is inconsistent, use the following compression settings: Ratio: 3; Attack/Hold/Release: 5ms/0ms/200m . Before we dive into vocal compression settings and how to compress vocals, let's first conduct a quick debriefing on how a compressor actually works.Trust me, it'll help later on. Compression limits the dynamic range of the instruments or tracks it is applied to (essentially it makes the louder parts quieter in order to create a.
The best compression settings for your mix. Here are a few mistakes to avoid as you explore and experiment with your compressor settings. 1. Attack set too fast on drums/percussion. You might be tempted to stylishly slam the percussive elements of your mix with your favorite compressor. But you really can have too much of a good thing Finally, let the high-end crossover worry about the sheen of the cymbals and the air of the drums. 3. Tweak the Compression Settings. At this point you really just have four compressors working together on separate frequency bands. Then you can tweak the individual compression settings, the threshold, ratio,.
6. Parallel Compression. How do some people get their drums to hit really hard in the mix and yet still sound natural? The answer is parallel compression. By taking a copy of your drums (or vocals, guitars, keys) and compressing it aggressively, you can blend it back in with the original track for the perfect sound. One Concept, Many Use As far as compression settings go, the trick is to preserve the transient attack of the kick drum with a fast but not too fast attack time (9ms in this instance) and then a quick release (11ms) so the compressor is ready to respond to the next kick drum hit attack/release compressions settings for drum compression. I have gotten the hang of compressing individual drums to alter their transients and make them punchy with a slow attack. But I am wondering about how I would set attack and release settings in a drum bus just to lower the dynamic range, WITHOUT destroying the transients with a fast.
It'll sound horrible but this will help you find the right attack setting. Set the attack all the way down (close to 0 milliseconds) then play your drum track. Slowly bring the attack time up until you start hearing a clear click-- the attack of your drums. Now dial the ratio and thresholds back until your drums sounds natural again What is NY Compression. New York style compression is a type of parallel compression originating from New York City. It's typically used on the power elements of a track such as the: kick, clap, snare, open hat, bass, lead vocals, and most commonly the entire drum bus A fast release will bring up room ambience. This can make the drums sound bigger. Heavy compression can bring up cymbal noise on every track. If the cymbals are getting too loud, dial back the compression and use drum samples to augment the performance. You can compress the samples to get the punch you want, without bringing up any cymbal noise
Compression Settings: Starting Points. You can use a sidechained key filter to tighten up a rhythm section by sidechaining the kick drum channel to the bass channel and setting the gate to open at the frequency of the kick drum. This, combined with a fast attack and release, will make your rhythm section more cohesive.. Compression Explained Settings Cheat Sheet Source Ratio Gain Reduction Attack Release Kick Drum Snare Drum Toms Overheads Room Mics Drum Bus 4:1 - 8:1 4:1 - 8:1 4:1 - 8:1 2:1 - 4:1 4:1 - Infinite 2:1 -8: Make your settings too extreme so that you're ears learn what bad compression sounds like, try to get breathing in your compression, but do it so that you get how attack and release times can impact your sound. As you start to compress a snare drum you'll also subtly lose some of the low frequencies (so try that rather than cutting with an. 3. Alternatively, use Glue Compressor in front of Drum Buss, for more detailed compression settings. For parallel compression, where the compressed and direct signals are both heard, use the Dry/Wet control to adjust the balance. 4. Track 2 contains a 'real' bass-guitar track. Let's use the regular Compressor audio effect on this one
This is a setting the gives a bit of edge but doesn't drive the drums too hard. Note how the attitude of the drums starts to change, and the hi-hats become crunchier. This is something you have to be careful of on drums, when you push the 1176 hard. It will grab a lot of the high end and drive it hard. But that's also the charm of it Kick drum compression settings (W/DKFH) If this is your first visit, be sure to check out the FAQ by clicking the link above. You may have to register before you can post: click the register link above to proceed. To start viewing messages, select the forum that you want to visit from the selection below Go much beyond those settings and your mix will sound flat and strained. The SSL G-Master Buss Compressor plugin, which accurately models the response of the analog circuitry found in the legendary console of the same name, is an excellent choice for mix buss compression. It's very grabby, very musical, and it makes things punch Because music compressors are used so frequently in home recording, it might be helpful for you to have some basic settings for various instruments to get you started. Horns It's rare that a compressor is used on horns. The only time you may want to use one is if an unnatural variation exists in levels [ Notice the sidechain compression on the kick when the drums come in around 40 seconds. Sidechain compression can also make your mix sound more exciting. When you hear really loud music—like at a loud concert or club—your ears use a natural form of limiting to protect your hearing
A relatively soft knee setting, so the compressor acts progressively, but not too much, otherwise the compression will be audible; As for the threshold, lower it in a way that you get a maximum of -2dB of gain reduction, which is quite a lot, actually Serial compression is just using multiple compressors with low gain reduction on the same instrument. Oftentimes, the settings aren't even different - the compressor plugin is literally duplicated to the space beneath it! I do this on every single bass I mix. It really is that powerful of a technique just wondering what the general view is on compressing the overhead drum mics during tracking. Necessary?,Stupid?,Imperative? I realize that its mostly a matter of opinion and taste,but if anybody has any input or suggested threshold/ratio-attack/release settings theyd like to share id dig it very much A quick note, I have dialed in a rather aggressive threshold on all of these examples so that it is easier to hear how the attack and release settings affect the compression. Slow Attack. Fast Release. A slow attack setting on your compressor will let more of the transient's snap through and maintain the snare's natural decay . It's especially helpful for understanding attack and release, which folks seem to have the most difficulty figuring out. With a kick, you'll be able to hear immediate differences as you play with the settings
Drum and Bass Compression Basics Drum and Bass Compressor Basics Compressor settings are always variable. A compressor is a tool that basically turns the volume of a sound down given the variables: 1 When should the level be turned down? (attack) 2 When should the level be turned.. Understanding the knee setting on a compressor. In this article, we'll learn how to use the knee setting on a compressor. Along side the other settings which control the way your compressor works, such as the threshold, ratio, attack and release, the knee is a great setting to fine tune the way your compressor applies compression to audio signals.. Kick Drum EQ. The happy medium in a kick drum sound is a thick bass thump from the low-end combined with a driving click from the mids. Different genres have different drum EQ, but those two areas are universal when it comes to a good kick drum sound. 50 - 100 Hz - Boost to add low-end punch.Beware of boosting too much though as it can clutter up the low-end and get in the way of the other.
For the compression settings, I simply used a fast attack and release time with a small ratio of around 3:1. There's also some parallel compression to mix the dry and affected signal. After adding the compressor I realized that the snare had a very long tail which I didn't like so I had to cut it out using a gate plugin In general I agree that it's hard to give advice for EQ and compressor settings without hearing the source material, but I think in this case it's slightly different. As far as I'm concerned there is one good snare sound that the 1176 does and that's using the settings I've outlined above How much compression you'll want to apply depends entirely on the type of instrument or genre of music you're working with. You wouldn't use the same compression settings on a face melting guitar solo as you would a violin melody, or the same set up on a drum track as you would on a vocal trac You want to be hearing it in the context of the full mix. This may mean that you need to work on other parts of your mix first and come back. You can mute the kick drum if needed for now. 1) Start With These Bass Compression Settings. When you're ready to get going, put the Threshold of the compressor at zero decibels, meaning it won't engage.
There are a huge number of ways to manipulate the basic compression settings (threshold, ratio, attack, and release) when mixing drums. Given all the subtly different compressor designs, it's therefore worthwhile to experiment with many compressor types and all of the associated settings to develop your own understanding of how drum sounds. Compression as with other FX, is very much a listening choice. Try starting with these figures, & then adjust things until it sounds right. Always check the sound in context of the mix as well. Often people only check the compression in solo, things can sound quite different once the sound is in place in the mix Using parallel compression on drums can help keep all the dynamics of the original source material but add volume, depth and power to them without crushing dynamics or adding too much make up gain that will overdrive the mix bus. Since the volume added by the parallel compression is coming from a heavily compressed signal and blended to taste. Using similar settings to the vocal-instrument sidechain setup, we can get a gentle ducking to clean up the mix: An Important Note on Sidechain Compression. After the above example, you may be tempted to use sidechain compression on everything. I would strongly recommend against this
CLA uses a pair of individual Neve compressors to create his parallel drum compression. He's got a hardware 33609 in the same rack and demonstrates his settings on that. Note that the 33609 has both a Limiter and Compressor section, but he's using the latter. It's a stereo unit you can set to either Linked or Unlinked mode The process for setting compression is the same regardless of what you are compressing. Each thing will just have slightly different settings. Let me show you how to set a compressor using the kick drum as an example. Set the ratio to 5; Gain to 6dB; Attack to around 10ms; Hold to 0ms; Release to around 120ms; Setting Compression Threshol When paired with customary drum techniques— equalization, compression, parallel expression, expansion, etc.—these tips can be even more effective. But first, a question. Do you use multiple reverbs or just one on drums? Surely, using multiple reverbs with different settings is a one-way ticket to mudville. Perhaps, but consider the opposite. You then mix the two tracks (effected and un-effected) to taste. There are two different compression settings which I like to use. 1. Slow Attack to Achieve Punch. Commonly when people use compressors on drum samples, they use a slow attack and fast release. They are not seeking to control the dynamics so much, but rather make a drum hit punchier A good place to start when you are talking drum compression (and luckily also first in our alphabetical list) is the API 225L, one of the most famous and respected compressors for drums around (for 500 series users the equivalent (pretty much) is the API 527). We agree, and think that is with good reason (it is generally one of our first.
Kick Drums This screen shows typical metal kick‑drum EQ and compression settings, with gating taken care of via a side‑chain. Similar EQ settings could be applied to a kick sample prepared from the same kit. A high‑pass filter at 65Hz minimises inessential low‑end energy, while a parametric boost at 82Hz, with a medium 'Q' setting. . It's necessary to listen to the part and adjust the compression settings to obtain the sound you want. The higher the ratio, the more the signal is compressed. The attack setting will determine how quickly the peak is reduced Compression works wonders to even out those erratic hits and helps to push the kick and snare forward in the track to make them feel more punchy. Let's take a look at how to do that with the drums. The Compression Technique Before we get into specifics, here's the technique for setting up a compressor A good way to find optimal settings for your snare compression is to exaggerate the compression so that you can hear it very well. Set the ratio very high and lower the threshold to achieve about 12 or more dB of gain reduction, and sweep the attack and release knobs to find the times that lock in with the groove and sound the best to you
11. You can hear the effect of the sidechain compression in isolation by soloing the bass track - remember this won't work if the kick track hasn't been put into solo safe mode, as the sidechain signal itself will be muted. Because we're bussing the kick to a drum track, however, we won't be able to hear the kick anyway. 12 Using parallel compression on drums can help keep all the dynamics of the original source material but add volume, depth and power to them without crushing dynamics or adding too much make up gain that will overdrive the mix bus. Since the volume added by the parallel compression is coming from a heavily compressed signal and blended to taste. Mixing Metal Kick - EQ and Compression Tutorial. Mixing Tips & Tricks Here's an in-depth tutorial on how to get a tight, punchy kick drum with tons of attack and presence for metal and heavy rock. This video walks through how to EQ, compress and use saturation on a live kick track to give it a modern metal sound.. 1. Multiband Compression on Your Drum Bus. If you're not using multiband compression on your final drum bus, you might be missing out. Treating your drum bus with multiband compression is a great way to glue all the drum elements, balance frequencies, and add excitement
Parallel compression (sometimes called New York compression due to its popularity with New York mix engineers), is a great way of achieving a subtle dynamic lift, and is far less noticeable in action when compared to its 'downward' cousin. Parallel compression can be used on a variety of sounds, but it's probably most popular on drums Compression Tips and Tricks . In the final section of this article, I am going to give you a few tips and tricks to help you get started with using compression. This includes some short sections on specific techniques and settings for vocals, bass and drums
. The compression ratio increases as the input signal level gets higher. As the signal gets louder, the compression ratio increases, making the UnFairchild extremely effective at controlling dynamics, adding color, and gluing tracks together on the drum bus General Compression Use. The loudest elements that cross the threshold may be the vocal, the kick drum, or a guitar track and will probably be a combination of each those elements at different times. It is important to keep in mind that the faders will behave differently once the compressor is on the mix bus. Setting the Ratio and. Please forgive my ignorance. What settings do you recommend on the gate for the kick drum? The manual is confusing to me. The lights above each channel reads Gain reduction not sure how I'm supposed to read those lights. I'm also looking for settings for the following for compression of the kick Threshhold: Ratio: Attack: Release: Output Gain
Parallel compression for fatter drum tones. Saturday, March 31st, 2007 in Technique by des. The class instructed us to use Ozone's global setting (in the multiband dynamics section) and adjust the mix level. It works but I found it very confusing as compared to what you described and not with as much control Then I'll usually compress the whole drum bus gently. Then if still more compression is needed, I'll set up a parallel compression bus to send all the drum tracks to with its own balance that hits the compression right. If more compression is needed that that, I'll compress the overheads/rooms/kit mics before the close mics Parallel compression or distortion could help you out. Send all your drum channels to a send channel with distortion/compression/both. It'll give them all the same treatment and feel, and I find that Camelphat works the best because it's got things like LFO's, Flange, Compression and tons of filters. You just don't want to overdo it
Setting the threshold creates a ceiling for your mix. Pushing level into this will cause the compressor to react. The sound of your mix will change depending on how much compression is used. This can help to squeeze the mix during the loudest sections and open up during quiet parts How much compression you use depends on what type of audio you are applying it to and what genre your music is. You wouldn't want to use the same compressor settings on a dub-step synth track as you would on a jazz flute one for instance, or the same set up on a vocal track as you would on a snare drum track This isn't normally a compression setting you'd use on drums because it's too severe, however in this example, it outlines the difference between the two beats and what compression can add. In an overall mix, we'd use compression to make sure that everything has a consistent volume level Tbh compression on low sub bass takes all the warth/feel out of it an imo ruins it. Basically wen making your sub bass it should be dry of any fx, in mono an to make it in your face try using different waves, personally i use a sine or square, works fine an all i end up doing is making sure the levels fit right with the tune im doing Great discussion on NY style drum compression. We are expecting new plugins with the release of Firmware 2.0 later this year, but I can't say for sure exactly what will be included. As always, your requests are heard by our developers. In the meantime, you can smash drums pretty effectively with the Dynamics section included on every. If you're not familiar with the basics of audio compression, you should read our article Basic Compression Tips in Audio Mastering. Also see: How to use audio compression. Limiting. A Limiter is a compressor with a ratio set to a very high setting (like 1:16, or in some cases 1: infinite)