True, but some colour the sound, while others try not to.dvdvelde wrote:Most compressors do the same job
Seconded.dvdvelde wrote:it is so important to nail it with EQ first.
True, but some colour the sound, while others try not to.dvdvelde wrote:Most compressors do the same job
Seconded.dvdvelde wrote:it is so important to nail it with EQ first.
I certainly would go with WinRAR...brianbrian wrote:WinRAR does a nice job too.
Most compressors do the same job, yes. But HOW they do it - and how they sound - is very different from compressor to compressor. Sure, making a basic compressor is not that big a deal...it's making it sound good thats hard. There's an almost endless amount of small tweaks when developing a compressor that determines how it performs; envelopes, timing nuances, and the whole sidechain/detector circuit...to mention a few.dvdvelde wrote:Most compressors do the same job, they gain the output - or +. Compressors are volume adjustors.
They are easy to program (single band compressors!)
and they all about do the same job. Changing volume or gaining...
what! and deprive us of threads like this?klagga wrote: Hey, why not get a FAQ on KVR where these often asked questions can get some answers.
amen to that, brother. i've performed a lot of listening tests, and have surprised myself on many occaisions by the subtle--and not-so-subtle--differences that can manifest from seemingly insignificant sidechain modifications. the basic functionality of a compressor is pretty much universal and predictable (in linear, feed-forward designs); however, it is the sidechain circuit/algorithm that determines 99% of a compressor's sound, and that is what separates the good, the bad and the ugly.rune_lh wrote:Most compressors do the same job, yes. But HOW they do it - and how they sound - is very different from compressor to compressor. Sure, making a basic compressor is not that big a deal...it's making it sound good thats hard. There's an almost endless amount of small tweaks when developing a compressor that determines how it performs; envelopes, timing nuances, and the whole sidechain/detector circuit...to mention a few.
I think you have to ask Ben!klagga wrote:I certainly would go with WinRAR...brianbrian wrote:WinRAR does a nice job too.![]()
Hey, why not get a FAQ on KVR where these often asked questions can get some answers.
Some top10 lists within specific categories would be nice too (top10 coloring compressors, top10 mastering compressors, etc).
Anyone know if this is possible?
Sincerely,
Klagga
err, I never liked people that plays police either!hitman8081 wrote:not accusing anybody. but i feel the need to mention that when ever i see a what is the best this best that post by not nesissarily a newbie but a newbie here followed by the words money is no object i get vey very suspicious. i geuss evrybody who asks this is rich and money is realy no objectthen the same people 2 months down the road ask whats the best synth for this genre or this purpose. im not at all implying that CYPRUS is using warez as he said hes just looking for ideas im just speaking in general term what i see and what i know to be in fact true as many of the people who ask the same questions are infact warez users looking to aquire the BEST cracked synths and fx and have no shame asking us
what they should getjust something i felt that needed to be said.
You got me...but i feel the need to mention that when ever i see a what is the best this best that post by not nesissarily a newbie but a newbie here followed by the words money is no object i get vey very suspicious.
chunk - I don't write compressor algorithms - could you say a few more words about what you mean there and is it about compressors in general or about Vanilla ? Thanks!citizenchunk wrote:... however, it is the sidechain circuit/algorithm that determines 99% of a compressor's sound, and that is what separates the good, the bad and the ugly.
How about automating the volume on the offending track?kylen wrote: Also to everyone - this is a question regarding a repair either during mixing or possibly during mastering. Would you rather fix a noticable transient resonance that occurs maybe once or twice during a verse by 'notching' it with an EQ or pushing it down with some compression/limiting to smooth it out - or both? My problem with a notch is permanently losing any good stuff that doesn't need taming during other parts of the song (unless automation is used). The trouble with compression/limiting is setting the compressor so that a healthy transient doesn't end up with that 'bottomed-out' sound of something that's been hit too hard with a limiter for a brief moment (again could be solved by automation). Maybe automation of the compressor/limiter is the trick - I think automating an EQ for this repair would sound too obvious.
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