Logic Compressor

[Al Who]

I'm working with Logic Studio 8 and the bundled plugins. The Space Designer and EQ plugins aren't too difficult to figure out but the Compressor has me somewhat buffaloed.

I've had no hands-on experience with hardware compressors so this is literally my first compressor and it doesn't seem to be designed for newbies. My needs are simple: light compression for folk music--voice and acoustic guitar (kinda like Ramblin' Jack Elliott, Utah Phillips, Tom Rush, etc.).

Is there someone here who has a pretty good understanding of the Logic 8 compressor? Can you steer me towards some useful settings... or away from some useless settings? Unfortunately the Compressor presets aren't much help because they all sound like overkill for acoustic folk music.

There doesn't seem to be much documentation available for the Logic Compressor. Does anyone know of a tutorial or white paper? Would I be better off working with a third party compressor plug-in with a simpler interface? Or will the Logic Compressor be adequate once I've learned to use it?

[jord]

Logic's Compressor is no different (aside from sonic differences) from any 3rd party compressor, or a hardware compressor as far as controls and functionality goes. It has all of your basic controls (ratio, threshold, attack, release and make-up gain) and is really not that difficult to use.

What you really need is to find a tutorial or discussion on compressors (and there are plenty on The Womb, as well as the net). Once you have a handle on how compressors work (and it's really a simple concept, considering they work like their name says), then you will know if you really need compression, and where you need it. Once you understand what a compressor is doing, you can apply it to any compressor.

Don't rely on presets. They only complicate the fact that you are applying something and you aren't sure why it's not working.

jord

[Al Who]

I've done a bit of reading on compressors... enough so that I understand the basics of how a compressor operates. What I'd like to see here is a discussion of the Logic Studio Compressor. Yes it has the basic controls but it also has a lot of advanced controls, like settings for 5 different kinds of compressors.

Here's an analogy: I'm a photographer. I know my way around Adobe Photoshop. There are some things I can do in minutes with a third party plugin that would take me hours to do "by hand". In a production work pipeline there just isn't time to do go the long way around especially when there are faster better ways to get there.

Although I haven't used the classic hardware compressors, I've read up on them and it appears that they have pretty simple controls yet get the job done. I'm curious about the Waves Rennaissance Vox and Rennaissance Compressor plugins which appear to operate simply as compared with the Logic Compressor.

Another analogy: My favorite guitar amp is a tweed Champ. It has one knob that controls the volume. It goes to 12. You can get an amazing variety of sounds with that one knob depending on where you set it and how you play. They all sound great. A friend of mine has a digital gizmo that is supposed to give you all the classic guitar amp sounds. It's always sounded awful to me. So I let my friend play with my Champ and guess what... he went out and got himself a tube amp.

Surely the Logic Studio Compressor plugin has some "sweet spots"... or maybe not. Maybe in trying to emulate every compressor known to mankind the programmers have taken on too much. When I hear the way their presets sound, I wonder what could they have been thinking? There are some things I like about Logic. I'm not sure that the compressor is one of them. If there is someone around who has really gotten deep into it and has some insights please comment.

[David Aurora]

hey dude, i see what you're getting at, but by the same token can't really offer any decent, honest advice other than just play with the thing. sure we could all tell you our impressions, but if you spend a little time with it yourself youre going to be so much better off for it.

the modes on that comp are weird. they do some cool shit, but its NOTHING like real comps imntlbfho. its one thing to just click "opto" or whatever, but using a real opto comp for example is a totally different ballgame. with the logic comp you can get ridiculous attack and release times, knees and ratios that you just cant get on the real deal. which can be a blessing or a curse. i mean if you were bashing your head against a brick wall with compressor "x"'s attack time being a touch slow and then the plugin gives you a similar sound but let's you get a 1ms faster attack, it might just be that touch of difference that makes your day at work. but then by the same token, you may end up pushing the attack time 5 or 6ms faster than compressor "x" is really capable of, and with a way higher ration than it can get, and totally wind up with absolutely NOTHING remotely like what the real comp would ever sound like.

as i said, this can be good or bad. so i wouldnt really worry about those modes a whole lot, just flick through them quickly when dialling shit in and pick what sounds best at the time, dont worry about what kind of circuit it claims to be. after a while, you'll just find yourself knowing by instinct which one you want for each source.

anyways, yeah, great comp though. theres a LOT you can do with it, but you can also pull a quick compression setting together real fast. the sidechaining in it is great too, really well laid out.

but hey, if you just want a simple as fuck, ridiculously good sounding compressor, go here and download "pressure" from the freebies at the bottom of the page (http://store.kagi.com/cgi-bin/store.cgi?storeID=6FEGJ_LIVE). i cant even begin to describe it, but its my "go-to" compressor 99.99999% of the time. 3 sliders. my 3 second setup trick for it is bang all the sliders far right til it sounds like distorted shit. bring the middle slider back until you get back a bit of punch (as much as you want anyway). then bring back the top slider til it stops distorting/has the amount of dynamics you want. lastly, bring back the bottom slider til it sounds the way you like it.

[Al Who]

I've played with Logic's Compressor a bit. Mostly I just fiddle with it until things sound good to me. It's been a little hit or miss, but I have found a couple of things that seem to work such as the opto mode with a soft knee for vocals.

I have yet to learn the mix automation feature in Logic, but I have feeling that, for the kind of music I'm doing, manually "riding the faders" may be a more appropriate form of compression as compared with the plugin compression.

So it may be that my frustration stems from the fact that I'm not using the right tool for the job... it's not easy to drive a screw into a piece of wood if you're using a hammer.

[jord]

Neither analogy flies.

Image processing in photoshop with a plug-in vs. doing it by hand is more analagous to drawing in your volume automation by hand as opposed to using a compressor. Besides, mixing music is never about how fast you can get it done.

As for the sweet spot in your amp, you're comparing an analog device to a wholly digital device. You're also comparing an amplifier to a compressor (you could have compared it to an electric drill for that matter).

The "5 Different Kinds of Compressors" referred to are nothing more than simulations of their real world counterparts, except for Platinum (which is the original digital compressor in Logic). Obviously, one can't expect them to be identical to the hardware devices they emulate, but if they sound right to your ears, then they are right. As to how they compare with Waves, or any other compressor, is purely subjective. If anything, my Liquid Mix offers 42 different types of compressor emulations, but they aren't any different in nature to Logic's compressor. The difference is in their overall sonic characteristics due to their behaviour. That doesn't mean its better... it's just different. I've used Logic's compressor for my guitars and basses in various songs. As to what kind of settings depends on the song itself.

As Dave said... plug 'em in and start adjusting to your tastes. You probably don't want a heavily compressed sound, or you may find that you don't want to use compression at all.

If you know how compressors work, then simply apply the basics first. Then get fancy with the emulations. Once you start applying what you know, then you can work with any compressor.

jord

[jord]

I've played with Logic's Compressor a bit. Mostly I just fiddle with it until things sound good to me. It's been a little hit or miss, but I have found a couple of things that seem to work such as the opto mode with a soft knee for vocals.

If it sounds right, then it is right. There's no real set formula as to what works where. And yes, there are plenty of hit and misses.

I have yet to learn the mix automation feature in Logic, but I have feeling that, for the kind of music I'm doing, manually "riding the faders" may be a more appropriate form of compression as compared with the plugin compression.

Mix automation and compression are two different animals. You can ride the faders and do compression at the same time. Automation is simply letting Logic ride the faders and/or controls according to your direction (it can follow what you do). Really really simple. Besides, if you want to bounce your tracks from Logic, you will need to use automation if you are riding your faders.

So it may be that my frustration stems from the fact that I'm not using the right tool for the job... it's not easy to drive a screw into a piece of wood if you're using a hammer.

That's what the reference manual is for. :D

jord

[shhpeaceful]

I have feeling that, for the kind of music I'm doing, manually "riding the faders" may be a more appropriate form of compression as compared with the plugin compression.


It sounds like you might want to start with some gentle compression to smooth things out, and then use the automation to correct the "big picture" (maybe this vocal is too quiet in the chorus, let's turn it up a bit).

I enjoy the opto mode on the logic compressor, and also on the Waves renaissance compressor, as you mentioned earlier. They both can give you some gentle control over your signal.

[Tommy Fobia]

In this mix scenario (acoustic folky stuff) I only use compression as a 'special effect', not as a means to control the level of an instrument. If compression can help me to get a specific sound or tone, I will use it for that.

If I simply want to tame the dynamic range of a particular element in a mix I automate the fader.

This works for me for 99% of the acoustic stuff I have been mixing recently.

YMMV.
:)

[Al Who]

Thanks Tommy and Peaceful. Your comments are right on target. I'm not looking to become a Logic Compressor Geek First Class... just trying to make some simple recordings with the tools at hand.

Again, thanks very much.

[shhpeaceful]

So, if you have questions about certain controls...ask 'em here.

If you haven't seen this, here's a description of different compressor circuits:

http://www.barryrudolph.com/mix/comp.html

look at the sidebar on the right.

hope this helps.

[jord]

Thanks Tommy and Peaceful. Your comments are right on target. I'm not looking to become a Logic Compressor Geek First Class... just trying to make some simple recordings with the tools at hand.

That's all fine, but when you approach the thread with

I've done a bit of reading on compressors... enough so that I understand the basics of how a compressor operates. What I'd like to see here is a discussion of the Logic Studio Compressor.

that says otherwise... and, really, anything said in this thread can be applied to any compressor.

jord

[otek]

Here's another analogy based on what's been said in this thread so far:

You can be a slamming photographer and still know jack shit about Photoshop. In fact, I would say if you can make your pics speak to me without photoshopping them to death, I'll be even more impressed.

Here's one more. I can probably learn to operate a Hasselblad camera in less than 30 minutes. What I see through that camera and how I use available light, motifs and angles to let my art speak, is the real deal. And it takes years.

The same goes for audio. Don't worry about the various compressor "type" presets for now. All they do is offer a subtly different sound character and behavior (which when it comes to compressors, truly go hand in hand). If you can find a sound with just the basic attack/release/ratio/threshold controls, you're doing fine.


otek

[CaptainHook]

You can be a slamming photographer and still know jack shit about Photoshop. In fact, I would say if you can make your pics speak to me without photoshopping them to death, I'll be even more impressed.

I won't dispute that. Although i will say that photoshop has
become the digital darkroom of today. Retouching was being
done long before you could do it on computers. Ansel Adams
often said the majority of his look was done in the darkroom
and his son believes he would have loved photoshop.
Retouchers generally still don't receive a credit. Even though
the assistant to the hair stylist might but the retoucher could be
contributing 50% of the look. (for good or bad)

But i guess it's the same as say editing drums on tape versus
doing it pro tools. On tape, you had to really know what
the fuck you were doing, and it was more likely you were a 'pro'
who would execute such activities with 'taste'. Now everyone can
do it in their bedroom. Along with photoshopping their
myspace photos. :Roll eyes:

[otek]

Along with photoshopping their
myspace photos. :Roll eyes:

Now, where's that red eye tool? :lol:


otek

[CaptainHook]

Now, where's that red eye tool? :lol:
otek

Right next to the liquify (make me skinny) tool and the
"take my self-portrait from a high-angle" button. :grin:

[CaptainHook]

Here's an analogy: I'm a photographer. I know my way around Adobe Photoshop. There are some things I can do in minutes with a third party plugin that would take me hours to do "by hand". In a production work pipeline there just isn't time to do go the long way around especially when there are faster better ways to get there.


I missed this. Can you give some examples of what plugins
you're talking about?

Most shortcuts in photoshop, LOOK like a shortcut.

[Al Who]

Thanks Otek.

I like your analogy. I can extend it a bit: Photographers used to light and photograph and then send the film to a good lab. Now the photographer has to be the lab as well and do the white balance and color correction work for his clients... and digital sharpening. Anti-aliasing filters soften digital images. Therefore all digital images need at least some sharpening. Sharpening digital images is to photographers what compression is to audio engineers. It's better to under sharpen than to over sharpen.

I think the same thing is true for music. Most of my musician friends have a DAW and are involved in digital recording and mixing on some level.

I hear the same complaint from both photographers and musicians--the computer work takes too much time. We all work long hours at the computer in virtual isolation. We have powerful tools at our fingertips. Now we need to find ways to speed up the workflow so that there is more time for other things.

It's funny, when I took up photography I had been playing music professionally for twenty years. I made analogies based on music that helped me learn photography. Ten years later I'm starting to make music again and drawing on my digital photography experience to help me learn digital audio.

Music and photography are similar in many ways. Each deals with a different range of the electromagnetic spectrum. Ansel Adams was a classically trained concert pianist. The diatonic scale was his inspiration for creating the Zone System that he used to control the tonal distribution in his fine art prints.

[Al Who]

I missed this. Can you give some examples of what plugins
you're talking about?


Captain, check out the Pixel Genius (http://www.pixelgenius.com/) plugins. I find them indispensable. These guys are deep into wrangling pixels.

Another must-have Photoshop plugin is Noise Ninja (http://www.picturecode.com/).

I have yet to try any third party plugins with Logic. Been looking at the Waves Musicians Bundle II. It looks like a pretty good value.

By the way, Photoshop Lightroom (http://www.adobe.com/products/photoshoplightroom/) is incorporating a lot of the sharpening workflow created by Pixel Genius member Bruce Fraser. With the recent release of Photoshop Lightroom 2, you can do 95 percent of your photography without every going to Photoshop. Luminous Landscape (http://luminous-landscape.com) offers an excellent set of video tutorials that will get you up to speed on Lightroom 2.

[Ein Mangfaldig Kar]

I'm just a bit baffled here (and confused about all this talk about photoshop) :grin:

One thing that I sgot a bit stumped from reading is that sharpening thing, do you mean that your recording is dull?
That it needs more presence?

But if you understand compressors/limiters and how they work what's the problem? is it the knee setting (great thing to be able to controll, if you look at the graphics it'ß preatty self explanitory) the peak / RMS button, The sidechain, that you don't understand? What?
As I said i'm a bit confused about all this "talking in pictures", I'm a simple guy...
Or is it just that it doesnt do what you think it does?

I'm still on LP7 here, but I went in and played around with the new one today, and that thing looks preatty darned cool.
Like the touch with the limiter, and those "modes"...
It's still the "good old" logic comp though ;)
Even if you don't know what it does you'll hear it preatty much straight away, that comp has never, ever, been "transparent" :grin:

If you want light compression just set it up taking a few of the loudest db's and if the darned thing peaks on you, well, pull the limiter thingy down....

If you want a setting:
a soft knee with a high ratio with a medium attack and slow release can be nice on vocals, the soft knee will start the compression erlier....

Now if someone could PM me and explain all thesse photoshop thingies...Just so I can feel like I'm part of this discussion ;)

And oh yeah,
does being a model make you a photographer?

to end this rant:
Listen to Otek


where's the beer?

[Al Who]

Roger,

The Photoshop stuff began as an analogy and then the Captain asked what are good PS plugins? It became a digression off topic.

The Logic 8 Compressor has a panel at the bottom that you can open by clicking. It gives you access to some additional settings which so far no one here has mentioned. Since I don't understand them myself, all I can tell you is that they're at the bottom of the window and they appear when you click in the right place.

But yeah... for my current project Otek's advice is fine. Light compression and ride the faders as needed.

[shhpeaceful]

Someone can probably say it more eloquently, but the sidechain function can "listen" to the signal and compress certain parts. example?

set the sidechain to highpass and use the listen to roll it up on a drumkit so you roll off the low end of the kick drum. when you disengage the listen, the kick drum should not be compressed, whereas the snare drum, cymbals, etc will be affected by the compressor. you can also key the sidechain from another track.

output distortion? i googled it and didn't get much help. anyone got anything to say about it? if I turn it on, soft clip sounds most pleasing to my ears of any of the choices.

the mix control is where the money's at. i wish EVERY software compressor had one. smash a pair of overheads or a vocal, set mix to 0 for 100% dry, then blend the wet signal in for effect. saves having to set up a parallel compress bus.

[Ein Mangfaldig Kar]

ok!

I'm back in it! :grin:

on That extra panel is a sidechain filter, when activated you have an EQ in the sidechain (good for DeEssing and Taming wolf notes) This is a new and very welcome (for me) addition to the plug.

in the old comp you allso had a possibility to taylor distortion/klip characteristics, I didn't see if that was still there or if has been changed for that "comp style" stuff...
I LOVE this on the old one!
Using it for fattening up stuffs, D.I.d bassguitars etc.
It reacts to how much you push the make-up gain.




If I remember correctly you allso have a mix fader as well between clean and compressed signals, but I can remeber that from Chriss's plugs ;)

[CaptainHook]

Captain, check out the Pixel Genius (http://www.pixelgenius.com/) plugins. I find them indispensable. These guys are deep into wrangling pixels.

Another must-have Photoshop plugin is Noise Ninja (http://www.picturecode.com/).


Didn't like the Pixel Genius stuff. Fair call on Noise Ninja, i have and
use that (but not often). I'll admit to being a highpass sharper-er. :P
I like the control with it. The rest of the pixel stuff seemed like
"effects". Delay and reverbs. Most third party plugins simply give
a nice GUI to use the already existing filters in photoshop, or
combine them. I still say shortcuts look like shortcuts. Doing it
by hand (if you know what you're doing) looks better.

eg: Cutting a mask on hair/water is still better by doing calculations/apply
image manipulations on channels and refining rather than mask
pro or whatever it is.

Roger,
The Photoshop stuff began as an analogy and then the Captain asked what are good PS plugins? It became a digression off topic.


I was actually contesting that plugins are better than doing it yourself. :grin:
And staying on topic is for squares man.

P.s I'm on Luminous Landscape also. (mainly lurk though..)

[jord]

I think one important question hasn't been answered throughout this entire thread: why do you want to use compression?

Considering that I'm also a pro photographer amongst the other hats I wear, I will never apply any edge sharpening or saturation to an image without a reason.

I treat my music in a similar manner: why do I want to compress a track?

jord

[jord]

the mix control is where the money's at. i wish EVERY software compressor had one. smash a pair of overheads or a vocal, set mix to 0 for 100% dry, then blend the wet signal in for effect. saves having to set up a parallel compress bus.

Aside from the fact that setting up a set of parallel aux tracks are a snap in Logic 8, the ability to control both the unprocessed and processed track individually is more preferable for me. On certain parts of a song, I will often bring in more parallel compression for emphasis and/or effect and the accessibility of that fader is a real time saver.

jord

[CaptainHook]

Considering that I'm also a pro photographer amongst the other hats I wear, I will never apply any edge sharpening or saturation to an image without a reason.

Sharpening(local contrast) should be done for final output.
The reason to sharpen for me, is to optimize the image for
it's destination. i.e for print it usually looks over-sharpened
on screen. Best to view for print at 50% while soft-proofing
to printer profile or using a RIP. Things like dot gain and paper
type mean most photos benefit from some amount of sharpening
when going to print. Web is a different story. This is ignoring
creative use of sharpening of course.

Oh, as for digital cameras having anti aliasing filters so being
"blurry", this is just DSLRs, not medium format digital backs.
And even then comparing a file from my 5D to a scanned
transparency of my RZ67 II, or a file from a phase one p30+,
the film appears to me 'softer' but with more detail. Not sharper
than digital as some profess.

Woops, wrong forum. :grin:

[Al Who]

the mix control is where the money's at. i wish EVERY software compressor had one. smash a pair of overheads or a vocal, set mix to 0 for 100% dry, then blend the wet signal in for effect. saves having to set up a parallel compress bus.

Ahhhhhh... very cool indeed. Thanks for explaining that. Parallel compression is something I've read about. Will give it a try.

Jord, I compress my vocal a bit because it sounds better to me that way. I think of it as raising the volume of the soft parts slightly. I'm talking about opto mode a ratio of 2:1 or 3:1 and a gain reduction of 1-3 dB. I fiddle with the attach and release time and with the threshold until it sounds like the vocal is louder/stronger.

I'm still experimenting with using different vocal mics and also with my mic pre settings. If I get the gain and output settings right I can get a little compression out of the vacuum tubes in my mic pre (Demeter HXM-1). Once I settle on a favorite vocal mic I'll get used to working it. So I expect that as my studio chops improve I'll want to use less compression than I've been using. That's where the mix fader in the Logic Compressor will get some use. In the meantime a little soft compression seems to help.

I'm not sure what the rest of the Compressor mode setting are useful for. And I don't understand why Apple has decreed that all their Compressor presets use the plugin in it's Platinum mode. Is it that the Logic 8 Compressor Platinum mode is the native mode of the plugin? Are the other mode selections just presets that mimic different kinds of hardware? Or do the mode selections actually change the actual processing algorithms to mimic the circuitry for each type of compressor selected?

Also, does Class A_U stand for a UA 1176? I think I read that, but have no idea whether it's true. Can anyone tell me what Class A_R stands for?

-Al

PS. Captain, let's keep this thread on topic--it's getting confusing. Digital photography isn't my religion... just my day gig. I'll happily quit photography the day I can get a job waiting tables... that's the job I've always dreamed of.

[David Aurora]

........And I don't understand why Apple has decreed that all their Compressor presets use the plugin in it's Platinum mode. ....

probably because for your average starting point it beats the snot out of the other options in there. dont get me wrong, i use all of them for different reasons, but if i want to slap a quick comp on something for a rough mix after a session, platinum mode wins every time. its just a very clean and flexible compressor in that mode

[jord]

I'm not sure what the rest of the Compressor mode setting are useful for. And I don't understand why Apple has decreed that all their Compressor presets use the plugin in it's Platinum mode.

That's not true... if you look at the various channel strip presets, they use various compressor mode settings (Bass setting use primarily FET emulation).

jord

[jord]

Jord, I compress my vocal a bit because it sounds better to me that way. I think of it as raising the volume of the soft parts slightly. I'm talking about opto mode a ratio of 2:1 or 3:1 and a gain reduction of 1-3 dB. I fiddle with the attach and release time and with the threshold until it sounds like the vocal is louder/stronger.

May not be a good idea to think of the compressor as a glorified volume control. If you're simply making parts louder, vocal rides are often the better bet. Or better yet, bring the surrounding tracks down or control the dynamics on those tracks if they are in effect going all over the place.

jord

[jord]

Also, does Class A_U stand for a UA 1176? I think I read that, but have no idea whether it's true. Can anyone tell me what Class A_R stands for?

Actually, if we match the types up to the various types of compressors, I would imagine it goes something like this:

Platinum: Logic's original compressor algorithm. Been around since Logic Audio Platinum.

FET: Field Effect Transistor emulation, resembling devices like the UREI-1176

Opto: Optical emulation, resembling devices like the LA-2A

Classic A_U: Variable-u emulation, resembling devices like the Fairchild 670

Classic A_R: Rectifier Bridge emulation, resembling devices like Neve 33609

VCA: VCA emulation resembling devices such as an SSL G-Master Buss Compressor, or DBX 160S.

PS. Captain, let's keep this thread on topic--it's getting confusing. Digital photography isn't my religion... just my day gig. I'll happily quit photography the day I can get a job waiting tables... that's the job I've always dreamed of.

Not your worry. And my dream job is to circumcise baby elephants. Pay is not so great but the tips are huge. :D

[shhpeaceful]

if the preset was from Logic 7, it will use the platinum circuit because that was the only one. The different circuits are a new Logic 8 feature.

[otek]

One thing I don't believe was mentioned about the side chain function is the ability to trigger ("key") the compressor with something other than the signal passing through it.

A personal fave is ducking basses and guitars with the kick drum.

The other thing I would like to mention is, when you use compression, use the output gain control to make sure the output signal level is subjectively equal to the input (that means, listen). That will give you a very honest image of what the compression is doing to your signal. Otherwise, the perception is often that louder = better.


otek

[Al Who]

My music doesn't have any basses and drums these days... mostly just thumb pick and fingers :) Maybe someday...

I have to say I'm glad I joined up here at The Womb. This has turned out to be a good thread. These are the first real insights into to Logic 8 Compressor that I've found anywhere.

Back when I was an art student in Los Angeles I hung out with studio musician friends at studios like Gold Star and MCA Whitney. Now I wish I had paid less attention to the chick singers and more attention to what the engineers were doing.

My first awareness of a compressor was while making a quick demo in my friend Gary's garage. My lead guitar player Steve asked Gary to take the compressor off his guitar--all the way off. The track came alive! At that time Steve was the first call guitar player for studio work in Los Angeles (he may still be and I hope he is). So I somehow got it in my head that if you really know how to play your axe you don't need no compressor.

Although there was no doubt some truth in that, I'm all for anything that makes the music sound better.

I've been wondering how much of my difficulty with compression is related to my monitoring. I'm using a small Blue Sky multimedia system which doesn't suck. But it's no powerhouse either. It probably compresses the playback some. Am I right about that?

I have an old Krell integrated amp and some Dynaudio monitors just sitting in storage because they don't fit my present workspace. I live in my photo studio which is a loft with a 30 foot cantilevered ceiling--small square feet and big cubic feet.

Haven't been able to conceive a practical layout which would let me use the Dynaudio monitors. Am I correct that if I had better playback, I would have an easier time hearing the effect of the compressor? I've been thinking that the Blue Sky system is more typical of what most folks listen on these days. Folks seem to be listening either in the car or at the computer.

[shhpeaceful]

Am I correct that if I had better playback, I would have an easier time hearing the effect of the compressor? I

a better playback will make it easier to hear EVERYTHING you do.

[Al Who]

a better playback will make it easier to hear EVERYTHING you do.

Yes... I've been avoiding changing the monitoring because setting up the good monitors will force a complete reorganization comparable to moving in to a new space.

This compressor stuff is kinda forcing the issue. Hmmmmmmm...

PS. I went to Cheltenham High School. What part of Philly are you in?

[otek]

These are the first real insights into to Logic 8 Compressor that I've found anywhere.

Just make sure you remember that if you know one compressor well enough, you pretty much know them all. Feature sets and sound character varies, but the basic operation is the same.

And get those Dynaudios set up. :D


otek

[jord]

Just make sure you remember that if you know one compressor well enough, you pretty much know them all. Feature sets and sound character varies, but the basic operation is the same.

I definitely reinforce Otek's statement... probably because I said it in the beginning. :D

jord

[Al Who]

Thanks!!!

[Martini]

[QUOTE=CaptainHook

Woops, wrong forum. :grin:[/QUOTE]


Fuck were in Adobe :finger:

[RWC]

The other thing I would like to mention is, when you use compression, use the output gain control to make sure the output signal level is subjectively equal to the input (that means, listen). That will give you a very honest image of what the compression is doing to your signal. Otherwise, the perception is often that louder = better.


otek

so true.

when you turn the compressor on in logic, even if it is doing 0 gain reduction, by default the gain is set to +4

so the second you put the plugin on - unlike an EQ, it is already 4 dB louder, and subjectively probably improved.

The auto gain is even more fucked.

[Martini]

Just make sure you remember that if you know one compressor well enough, you pretty much know them all.


otek

yeah, I´ve got a win zip and man it always sounds kinda dull, empty? Whatta fuck?
Am I missin´ something?



:grin:

[Stu-urns]

I have to say that I really enjoy the "controls" view of the compressor... The flexible sidechain, the mix option, and especially the soft saturation option. Crank up the gain on that shit, turn down the mix (or use a parallel buss), and you've got some sweet texture on a vocal or drums. Freakin' brill.

And having the options of compressor model is just fantastic. Seriously this compressor shits all over the bundled PT one.