Compressor 101

How To Use Compression To Solve 5 Common Mixing Mistakes

     Compressors are great problem-solvers when you mix music. But if they’re used wrong, compression can significantly color (and even mess up) your sound.So you need to know what you’re doing to make it work for you (and actually solve your issue).In this article you’ll learn 5 common mixing problems and how to solve them using compression.So get to know them and start experimenting with your own sound… You’ll be a compression expert in no time.First let’s dig into the basics!Compressors are funny creatures. 

They reduce the gain of your signal (‘GR’ stands for Gain Reduction on your DAW compressor). But they also reduce the dynamic range of a signal.

Dynamic range is the difference between the loudest and the quietest parts of a signal. When someone says a signal is very dynamic, it means that it varies a lot between quiet and loud parts–vocals are a good example of a sound with a wide dynamic range… like Mariah Carey!You might be thinking: but isn’t reducing the dynamic range a bad thing?

Well, compressors lower the volume of loud peaks–they even out the notes that stick out in the mix. That’s good because it allows you to bring up the gain of the whole signal without clipping.So overall using compressors right gives you a more polished and punchier sound without going in the red. Amazing, right?To get the most out of your compressors you need to know how to use the settings right.Alway keep a clear intention in mind with your settings. And always remember to use your ears too!

The main compressor settings are: threshold, ratio, attack and release.

Here’s what they do:

Threshold The threshold is the level (in dB aka decibels) at which your compressor starts to work. When your signal hits the threshold that’s when the compressor starts working.Drag down your threshold until you see the compressor working. You know it’s working when there’s activity in your GR meter.RatioThe ratio is how much your compressor will compress.Higher ratios give thump and punch, but can distort or add a pumping effect. Keep the ratios in the low to medium range when you’re looking for a more natural effect.At 1:1 there isn’t any compression happening.

Lower ratios (like 2:1 or 4:1) mean you’re applying low to medium amounts of compression.Between 8:1 and 20:1 you’re applying heavier compression. When’re close to ∞:1  (infinity to one) your compressor is basically a limiter– that means the parts of your signal that go beyond the threshold will not go further (in terms of amplitude).

AttackThe attack is how fast the compressor starts to work. It controls how much of the initial impact and transients of the sound get through.Slow attack is between 25 and 100 milliseconds (ms). It lets through a lot of initial impact so it gives you a punchier sound. But if your drummer played unevenly, that’ll be accentuated.

A medium attack is between 8 and 25 ms. It’s a good middle ground.

A fast attack (8 ms or less) makes your sound tighter and more even. It gives smoothness to the front end of the sound. But it also risks shaving off the initial impact (the transients) making it more dull and lifeless. So adjust the attack to suit your sound.

ReleaseThe release is how quickly the compressor lets go–in other words, the time it takes for the compression to stop working.A fast release (100 ms or less) means the compressor stops compressing quickly after it started. It’s a more aggressive, gritty sound. Overdoing it makes sometimes produces ‘pumping’ artifacts.

Medium release is between 100 and 400 ms.

A slow release (greater than 400 ms) gives you more dynamics and smoothness. But overdoing it can suck the life and impact out of the next sound. It can also mess up the groove and feel of your track.Keep in mind that all compressors are different, there’s no single formula for this. So Listen and adjust to suit your tastes!

Hot Tip: Look at the GR (Gain Reduction) meter. Set the release so it goes back to zero (the top) before the next hit. Otherwise you’re most likely over-compressing.Here’s a little cheat sheet on attack and release times (in milliseconds):Knowing why you’re using a compressor is key for getting the most out of it.Before you slap that compressor on your track ask yourself: what am I trying to achieve or solve?Here are 5 common problems producers have and how to solve them with compression:

PROBLEM 1: I WANT TO BRING UP THE LEVEL OF MY DRUMS BUT THEY START CLIPPING.

Solution: Use a compressor to smooth out the peaks

How to do it: Drag and drop your favorite compressor on your drum track.

1. Start with the ratio at infinity to 1 (inf:1) and your threshold at minus infinity (-inf). It’ll sound horrible but this will help you find the right attack setting.

1. Set the attack all the way down (close to 0 milliseconds) then play your drum track.

1. Slowly bring the attack time up until you start hearing a clear click–– the attack of your drums.

1. Now dial the ratio and thresholds back until your drums sounds natural again. What sounds best to me is a ratio at 5:1 and threshold at -16 dB. But your results will vary depending on your drum sound.

To tame the peaks on your drums, set your compressor to:

• Medium-High Ratio

• Fast Attack

• Fast Release

Why it works: The compressor reduces the gain of the peaks and lets you bring the level of your whole drum track higher. You get a more even and tight drum sound.

PROBLEM 2: MY KICK DOESN’T CUT THROUGH BECAUSE IT’S INTERFERING WITH THE BASSLINE.

Solution: Use sidechain compression

How to do it: We’ve done a step-by-step sidechain compression guide––take a look to revisit the basics.To start, feed the kick into your bassline’s sidechain compressor.Set your compressor to:

• Medium Ratio

• Medium Attack

• Medium-Fast Release — tune it to the feel/groove of the song by ear

Why it works: Sidechain compression lowers the bassline when the kick comes through.  That leaves space for the kick to get heard. Set the ratio to medium (say 5:1) to duck some of the bassline when the kick hits. Set the ratio to high (like 10:1) to cut out the bassline almost completely when the kick hits––this creates that noticeable pumping effect.

PROBLEM 3: MY VOCALS ARE TOO QUIET IN SOME PARTS AND WAY LOUDER IN OTHERS.

Solution: Stack two compressors

How to do it: Drag two compressors one your vocal track one after the other.Here’s how to set your two compressors:First Compressor:

• Low Ratio

• Slow Attack

• Slow Release

Second Compressor:

• Higher Ratio

• Fast Attack

• Medium Release

Why it works: The first compressor will be slow and natural-sounding. It’ll smooth out the dynamics and make the loudness more even overall. The second one is a faster compressor that’ll keep the punch of the sound.

Hot Tip: Sometimes having several (2-3) compressors doing a little bit of compression (much less gain reduction) sounds more natural than one doing a bunch of gain reduction.

PROBLEM 4: I RECORDED A DRUMMER PLAYING BUT IT SOUNDS WIMPIER ON THE RECORDING.

Solution: Compress the room mic recording.

How to do it: Record your drum kit using both direct mics and a room mic. Place the direct mics in front of each piece of kit. Place the room mic overhead. (more on mic’ing drums). Once you’ve got all the recordings in your DAW, apply a compressor on your room mic track.Set your compressor to:

• High Ratio

• Medium Attack

• Fast Release

Why it works: A compressor lets you make your instruments sound more lively. This’ll give the impression that they were played with more intensity. You’re not looking for a perfectly clean sound here–think rock drums. You’re after a punchier sound. Compressing the room mic gives you a cool aesthetic effect.

PROBLEM 5: I USED A COMPRESSOR BUT NOW I ACTUALLY HAVE LESS PUNCH.

Solution: Use parallel compression.

How to do it: To use parallel compression, duplicate your signal. The first signal will be your drier signal. The second signal will be your compressed signal. And because you have two signals, go extreme on the second one––lots of compression. Then mix the dry one in with just a bit of the compressed signal until it sounds right.

Here’s how to set the compressor on your second signal:

• High Ratio

• Slow Attack

• Fast Release

Why it works: You don’t have to worry about losing your dynamic range because the drier signal retains all the body and dynamics. The compressed signal with a slower attack will add the missing punch and energy. Apply some light compression on your dry signal if you need to.

Hot tip: EQ the compressed signal. Try putting a High-Pass Filter on it. This lets your dry signal be the main source of low end.Remember, compressors have personalities. Some compressors are more colorful than others. Some are more transparent. Get intimate with your compressors and know what each does best.Try this: put your favorite track in your DAW and put a compressor on it. Play with the settings–try drastic changes. Do some active listening to identify what they do.

References:

Trandafir, L. (2017, January 10). How to Use Compression to Solve 5 Common Mixing Mistakes. Retrieved January 12, 2017, from http://blog.landr.com/use-compression-solve-5-common-mixing-mistakes/

Compressors lower the volume of loud peaks–they even out the notes that stick out in the mix. That’s good because it allows you to bring up the gain of the whole signal without clipping.

Pentatonic - Major/Minor

Power Chords

The complete chord chart

Modern Vs Classical Music

   From the 12th century to the 21st century music has been vital to everyday life. Whether the music is coming from the trumpet playing an old time classical or from the beat boxer raping his favorite tune song; the creativity and passion for music starts to flow out of every person who lets it. Music had changed drastically over the years. Three ways music has changed is by adding instruments, changing the message, and by changing the purpose. A lot of people have been exposed to music, whether it’s classical or everyday modern.

          

  The basis of music has changed, since the early days of just playing one instrument and singing the thoughts that pop into the singers head. Music started out with little equipment and has only progressed since. Today, music goes through a process before it’s even heard. There is so much work put into having a song sound good. Back in the old days, music was played out of enjoyment. It came from the heart. Classical music is known to have a wide dynamic range and will often speed up and slow down at different times. While modern music often expresses emotion through the singer, there is more of an emphasis and variation that in classical music. From classical to modern music the amount of instruments has increased tremendously.

          

  In classical and modern music the message differs in each century. Whether the people know it or not music can affect their mood and influence their behaviors as well. Music had personalities, which can express what people feel. Each song touches someone through ways like teaching a life lesson or by touching you heart. Every generation has music that impacts the world by motivating people to do certain things or defines a person’s personality. Each had music sums up the generation. Classical music generally gives the message of relaxation and peace. Modern music has many messages depending on the genre. There is a song for every mood. Within each century the message changes through each passing mood.

         

   In modern and classical music the purpose for the songs written had varied. Classical music’s purpose is generally to entertain an audience and to excite listeners emotionally and intellectually. While some modern music is developed to stimulate in similar ways, it also diverges from classical music. Most modern music is developed simply for dancing, which is uncommon for classical music. Whether your purpose is to dance and jump around or to relax in bed, there are endless possibilities.

         

   Throughout the years, each music genre has been imperative to oneself. Music is what moves everyone, and without it, life would be meaningless. From an old hymn to a funky lyric; the intentions have changed but one thing still remains. Music has and will always be a way of life to our culture.  Music has transformed by adding instruments, changing the message, and by altering the purpose. Although music has changed through each passing year; it is still vital in how we view life today.

Hans Zimmer - THE MAN OF STEEL

A bold new approach by Academy-Award winning composer Hans Zimmer.  The result couldn't be more different than Williams' beloved and now more than 30-year old score.  Where John Williams used brass fanfares and snare drums accompanied by full symphony orchestra Hans Zimmer uses a 12-member drum band of renowned drummers accompanied by 8 pedal steel guitars, and synthesizers. 

Zimmer has composed two principle themes for this score.  The first is a theme representing Superman's hope and struggle to become part of human race.  This delicate piano theme was featured at the beginning of the third trailer for the movie released earlier this year.  Incidentally, the entire cue from the trailer is included on the album in track 17.  This theme, the Humanity Theme, finds liberal usage in several cues including the highlight cue, Earth, which presents several satisfying variations.  Like his theme from Inception, Time, the Humanity Theme is very simple, but it touches the heart in its intimacy especially played so tenderly on the piano.

Henry Cavill as the Man of Steel

The second theme is Superman's.  In composing this theme and anthem Zimmer has stated that he procrastinated for three months just feeling intimidation at the prospect of treading in John Williams' shoes.  For those like myself who have grown up with John Williams' epic theme and can whistle and air conduct it on command its hard to imagine anyone topping Williams' legendary effort.  That said I had high hopes for Zimmer especially since he has composed some amazing themes such as those for Crimson Tide, The Lion King, and Backdraft.  The result is a theme or really anthem, much simpler and shorter in construct than Williams' work, that will likely find popular appeal.

Superman's theme first appears in the Look to the Stars where it receives a restrained and very slow tempo treatment conveying a sense of reverence and nobility.  Some alluring vocals enhance the beauty of this cue.  The best performance of Superman's theme comes in the concert-fit piece What Are You Going to Do When You Are Not Saving the World (that's a mouthful).  This cue begins with the humanity theme and then at 1:23 the drum march subtly begins.  Over the next minute the music continues ascending and building anticipation until at 2:41 the full on anthem explodes and you cannot help but envision Superman flying triumphantly through the air.  Chill inducing?  Yes!  Exciting?  Yes!  Inspiring?  Yes!  Zimmer's approach couldn't be more different than Williams', but at its core Zimmer's anthem inspires the same feelings of elation as Williams' theme.  Unfortunately, nowhere else in the score on album does that anthem reach those same heights.  This is Clark Kent and Flight do offer some swell, but short variations on the anthem.

Zimmer's Man of Steel Drum Band

Percussion obviously plays an important role in the score.  Oil Rig brings on the big drums in beat-you-over-the-head fashion.  The first minute of Terraforming features my favorite drum march performance on album.  Probably the most intense drumming comes in This is Madness! where the drummers go gangbusters for almost four minutes with virtually no other accompaniment.

The destruction of Krypton was an epic part of John Williams' score and so too for Zimmer's.  If You Love These People is a perfect merging of guitar, the drum band, and the chorus.  At its climax the cue recalls some of Zimmer's best choral action work from The Lion King.  The finale of the cue reprises the violin solo heard earlier during the cataclysm of Krypton's destruction with a beautiful solo violin.  Don't be surprised if you find yourself wanting to hit the repeat button when you come to this cue!

Knowing your rights

Copyright means the protection given by the laws of the U.S., as well as many other countries of the world, to the original works that a writer creates. The works can be songs, or underscore to films and television programs, or symphonic or electronic pieces, or advertising jingles or any other original creation of music, lyrics or both. 

The Copyright Law gives to the copyright owner (the writer, publisher, etc.) of a work, a number of exclusive rights which are good for a specific number of years. The law also puts certain limits on those rights. The exclusive rights include the right to produce a work in copies and records; the right to prepare derivative works; the right to distribute copies of the work; the right to perform the work; the right to display the work; and most recently, a limited performance right in sound recordings digitally transmitted. 

In late 1998, Congress passed the Sonny Bono Copyright Term Extension Act which changed the 1976 Copyright Act by significantly increasing the length of time a song remains under copyright protection. Different rules though apply for songs written prior to January 1, 1978 and those written on or after that date. 

For compositions written on or after January 1, 1978, the basic term of protection is the life of the writer plus 70 years. For example, if two 20 year old writers wrote a song in 2005, and one lives to be 50 and the other lives to be 100, the copyright protection for that song would last for 150 years from its creation. In this case, the protection would last from the time the song was written through the life of the last living writer (i.e. 100 years minus 20 = 80 years) plus an additional 70 years. 

For compositions written prior to January 1, 1978, and which were still under copyright protection as of the time the Term Extension Act was passed, an additional 20 years of protection was added to the old law's terms. As the total number of years of protection for most pre-1978 songs under the 1976 law was 75 years (28 original years + 28 renewal years and a 19 year extension), the term of protection for these works has been extended to a total of 95 years from the original date of copyright. 

As to "works made for hire" written on or after 1/1/78 (many compositions written for film and television fall into this category), the new law's term of copyright protection is 120 years from creation or 95 years from first publication, whichever expires first.