Hard clip, limiter, soft clip. This is a tough one tho through my iPhone 😂
@allforgodsloveКүн бұрын
Hard, limiter, soft
@lolx18472 күн бұрын
Slow attack times for drum compression is more often than not a waste of time. You’re enhancing the transient of an already raw signal and wonder why you end up needing so much limiting on the back end. This video is a great example. Bonus points if you’re listening through a phone speaker. Turn your volume way down as if someone’s sleeping next to you while you’re watching a video. Notice how the slow-compressed example just flat out sounds QUIETER. Limper, weaker, more papery are other valid adjectives. This is why modern listeners demand high LUFS aka low dynamic range mixes - you can flat out hear the music better in any sort of non ideal listening scenario. Instead, start with a fast attack (1-5ms) and lower your threshold with your eyes closed. You’ll realize that often what our ears translate as “punchy” is the sound of struggle - a hyper dynamic sound being condensed into a tight, fat waveform. Limiters and clippers are postmodern tools that help us achieve this sound - but nothing gets you that organic, vibey smack than 10db of *fast* compression. It’s like, OK you exclusively use slow attack times on your compressor to “preserve transients”, yet end up using 5db+ of limiting at the end to satisfy your ego for a number? Did you forget that limiting/clipping are literally 0ms attack time processes? 😂 So are most de-essers, etc. Don’t fear the speed.
@lolx18473 күн бұрын
Anyone complaining about the loss of transients has never gotten professional work. Clients and the layman listener don’t care about your precious, pokey transients. They give off an “unfinished” impression, sounds bad in the car, and can distract from the lead vocal. Just for once- actually *listen* to your reference mixes. Rule of thumb is the louder/more prominent you want something to be in your mix, the more you want to control its transients. In modern mixes, this would be your drums and the lead vocal. Proper transient control is what leads to effortlessly high LUFS values. Listeners don’t care about a number though- they have just grown to enjoy the compact, full, and smoother sound that can only be evident in a high (above 9-8) LUFS mix.
@JTFuller6 күн бұрын
Outstanding lesson.. Wow, this plugin is really powerful.. That autogain function, GEM.. Thank you for this video..
Пікірлер
C hard . A soft B limit
Hard clip, limiter, soft clip. This is a tough one tho through my iPhone 😂
Hard, limiter, soft
Slow attack times for drum compression is more often than not a waste of time. You’re enhancing the transient of an already raw signal and wonder why you end up needing so much limiting on the back end. This video is a great example. Bonus points if you’re listening through a phone speaker. Turn your volume way down as if someone’s sleeping next to you while you’re watching a video. Notice how the slow-compressed example just flat out sounds QUIETER. Limper, weaker, more papery are other valid adjectives. This is why modern listeners demand high LUFS aka low dynamic range mixes - you can flat out hear the music better in any sort of non ideal listening scenario. Instead, start with a fast attack (1-5ms) and lower your threshold with your eyes closed. You’ll realize that often what our ears translate as “punchy” is the sound of struggle - a hyper dynamic sound being condensed into a tight, fat waveform. Limiters and clippers are postmodern tools that help us achieve this sound - but nothing gets you that organic, vibey smack than 10db of *fast* compression. It’s like, OK you exclusively use slow attack times on your compressor to “preserve transients”, yet end up using 5db+ of limiting at the end to satisfy your ego for a number? Did you forget that limiting/clipping are literally 0ms attack time processes? 😂 So are most de-essers, etc. Don’t fear the speed.
Anyone complaining about the loss of transients has never gotten professional work. Clients and the layman listener don’t care about your precious, pokey transients. They give off an “unfinished” impression, sounds bad in the car, and can distract from the lead vocal. Just for once- actually *listen* to your reference mixes. Rule of thumb is the louder/more prominent you want something to be in your mix, the more you want to control its transients. In modern mixes, this would be your drums and the lead vocal. Proper transient control is what leads to effortlessly high LUFS values. Listeners don’t care about a number though- they have just grown to enjoy the compact, full, and smoother sound that can only be evident in a high (above 9-8) LUFS mix.
Outstanding lesson.. Wow, this plugin is really powerful.. That autogain function, GEM.. Thank you for this video..