Its very useful! I have a video coming for Chase Bliss CLEAN soon which has more character/quirks but less precision. Part of me feels that one would suit your music more but they both rock!
Timely. I have an FMR Real Nice Compressor that I'm integrating for this stuff. Full stereo with bypass and sidechain, plus "real nice mode" for cascading compressors...it is crazily transparent and so helpful if you need to hit it harder but still be subtle about it. I haven't tried this yet, but taking a feed off the kick drum in a live scenario for the sidechain input is something I'm excited to give a whirl. Thanks for demonstrating this! Compressors don't get enough love sometimes.
This is definitely an eye-opener. Generally, the only times when compression pops up on my synth parts is if it’s in the presets I select (harding the mastering process). I could decide to change that in the future.
Glad it could help! Whether you use this or any digital compressor you will be surprised at how much a bit of compression will help your tunes come to life. Its like salt in cooking!
Compression is a legitimately helpful technique to have your synths and drum machines sound more in unison. It's made a huge difference for me. I always leave it on.
Amazing run down of this pedal and just real world ways to use a compressor Miles! I’ve been learning a ton watching your videos, and getting more comfortable with composing electronic music myself! I’ve got the Synthstrom Deluge, and while it can do so many effects digitally, including compression, I would love to add this pedal to my hardware setup for a more hands on and visual approach to compression. Cheers!
It really is epic. While compressors aren't as sexy as a big ambient reverb or glitch pedal, the Press is legit one of the most useful pedals I've tried in years.
@@JohnnyADi I actually pre-ordered one right when it was announced before Polyend hit me up about the Press, so video on that once it arrives coming too!
Miles, should I replace the uafx max with the Polyend Press? I don't like the max at all. Emailed you too but then i saw you reply to the comments... Thanks!
@@BobbyGeneric145 i haven’t tried the UAFX pedal sorry! But this is an easy recommendation, it’s a fully analog stereo compressor built around line/synth level for a reasonable price. It’s a great pedal
Again, impressive content and visuals. A question: Since even analogue technology can now be shrinked almost as much as digital technology, I'd like to ask you if the Polyend Press is an analog compressor.
It's fully analog! That's why this is a sweet pedal, its to my knowledge the first rack style analog stereo compressor with all the controls you need in pedal format.
@@MilesAwayOfficial That's nice because I had not necessarily guessed "analogue", less because the sound (of course) more by the best-known digital gear from Polyend.
@@DrFearCo That’s the specific kick sample. You are hearing it poke through whereas it’s lost when no sidechain on. This genre uses that extreme pumping but Lots of other music you would go lighter with sidechain
I used to have a radio back in the 70s and 80s which started doing this 'pumping' sound when you turned up the volume too high. It was regarded as an annyoing effect, something to be avoided. Apparently nowadays producers are aiming for that sound. I dunno, it still sounds like a cheap radio to me ;) LIke everything in the mix is fighting for a place to exist, but the electronics can't handle it. I have gotten used to it, and when well done (such as in your music) I can actually enjoy it as well :)
Right?! I recall this as being an artifact of a system literally suffering from not having enough power for the intended volume. But that means you can be judicious with the effect and give the impression that the song is cranked louder than it is. And, as a tool to make space for other details, it's awesome. Compressing a pad around a kick, etc, but letting the rest of the mix breathe normally.
@@payt01 totally fair dialog! I produce almost every genre of electronic and pop, and some really don’t use much sidechain. This genre of this tutorial however (progressive) is really defined by that pumping so you can have these massive clicky sine kicks without having to give up using big full range synth chords and plucks. It’s a compromise for sure, but important to get the genre authentic. Check out Come Home - Alpha 9, one of the songs that pioneered this effect of the heavy pumping on the entire synth bus. If I was putting more time into this demo, I’d create atmospheres around the main idea that were not sidechained to help it breathe, but for this tutorial I kept it bare
It always baffles me why synth heads conceal about their compressor. Like we know the sound is passing through some board but is hidden. Thanks for this vid. Though I wish it had numbers.
@@bengsynthmusic the parameters aren’t hidden, you can see where I move each knob to. Also, every compressor scales or represents values different. That’s why I use broad terminology like “use a slow attack and a fast release, with a high ratio”. It’s like cooking, “add a pinch of salt”
@@alainthiry3965 I feel you but it’s pretty much necessary for this genre of electronic. When I’m doing tracks outside the genre of this demo song I will be much more sparing with sidechain!
Probably the best compression overview I’ve seen. Well done.
Thank you so much!
@@MilesAwayOfficialPlease do a video on volume sidechain compression! Great video mate!
You’re making me want one!
Its very useful! I have a video coming for Chase Bliss CLEAN soon which has more character/quirks but less precision. Part of me feels that one would suit your music more but they both rock!
Timely. I have an FMR Real Nice Compressor that I'm integrating for this stuff. Full stereo with bypass and sidechain, plus "real nice mode" for cascading compressors...it is crazily transparent and so helpful if you need to hit it harder but still be subtle about it. I haven't tried this yet, but taking a feed off the kick drum in a live scenario for the sidechain input is something I'm excited to give a whirl.
Thanks for demonstrating this! Compressors don't get enough love sometimes.
Thank you and I agree! Compressors are very helpful and amazing
That track is crazy dope! Excellent overview of the Polyend Press!
Thank you Marcus!
Side chain video please
This is definitely an eye-opener. Generally, the only times when compression pops up on my synth parts is if it’s in the presets I select (harding the mastering process). I could decide to change that in the future.
Glad it could help! Whether you use this or any digital compressor you will be surprised at how much a bit of compression will help your tunes come to life. Its like salt in cooking!
Compression is a legitimately helpful technique to have your synths and drum machines sound more in unison. It's made a huge difference for me. I always leave it on.
@@luisbarrera5740 agreed 100% 🙏
Damn - probably the nicest pedal chassis I’ve ever seen
@@HiLoMusic very beautiful indeed
Amazing run down of this pedal and just real world ways to use a compressor Miles! I’ve been learning a ton watching your videos, and getting more comfortable with composing electronic music myself!
I’ve got the Synthstrom Deluge, and while it can do so many effects digitally, including compression, I would love to add this pedal to my hardware setup for a more hands on and visual approach to compression. Cheers!
@@Cloud_Brn thanks so much! I think this would go great with the deluge to help give the output that extra punch
Absolutely Brilliant 💯 Fantastic lesson on using a compressor and this pedal is awesome. What a track and video at the end 🎶 👌 🤩 🙌
@@Jason_Drums_ thank you man! Glad it was helpful
Dope. Def want this someday. What an epic pedal
It really is epic. While compressors aren't as sexy as a big ambient reverb or glitch pedal, the Press is legit one of the most useful pedals I've tried in years.
Love the stereo input output (with one cable)
@@ManCalledMif it’s TRS stereo! But it can also but run in mono I/o too
What about the chase bliss clean pedal? Was thinking of using that for a compressor/limiter.
@@JohnnyADi I actually pre-ordered one right when it was announced before Polyend hit me up about the Press, so video on that once it arrives coming too!
Thank you for this!
@@yourcitysleeps my pleasure!
Loved this thank you!
@@Livguava thank you!!
Sounds great! Love the song and tips are very useful.
Where can we listen to that song? Is it on Amazon Music or Spotify? (Name of the song?)
It’s just made for this video ! If I release it I’ll post :)
Miles, should I replace the uafx max with the Polyend Press? I don't like the max at all.
Emailed you too but then i saw you reply to the comments... Thanks!
@@BobbyGeneric145 i haven’t tried the UAFX pedal sorry! But this is an easy recommendation, it’s a fully analog stereo compressor built around line/synth level for a reasonable price. It’s a great pedal
why do you prefer volume automation sidechain over sidechain compression?
@@tendingtropic7778 more precise control and ability to do cool things like flutters/stutters as well as just side chain
Again, impressive content and visuals. A question: Since even analogue technology can now be shrinked almost as much as digital technology, I'd like to ask you if the Polyend Press is an analog compressor.
It's fully analog! That's why this is a sweet pedal, its to my knowledge the first rack style analog stereo compressor with all the controls you need in pedal format.
@@MilesAwayOfficial That's nice because I had not necessarily guessed "analogue", less because the sound (of course) more by the best-known digital gear from Polyend.
@@Gerald_Daniel agreed! It’s a very left field release from them but it might be my fave thing they’ve made 😆
@@MilesAwayOfficial This I can imagine well!
Excellent 👌🏻
Thanks Zach!
There’s a high pitch tick sound at the top of the kick that I only hear when you do the volume automation. Is that intentional?
@@DrFearCo That’s the specific kick sample. You are hearing it poke through whereas it’s lost when no sidechain on. This genre uses that extreme pumping but Lots of other music you would go lighter with sidechain
I used to have a radio back in the 70s and 80s which started doing this 'pumping' sound when you turned up the volume too high. It was regarded as an annyoing effect, something to be avoided. Apparently nowadays producers are aiming for that sound. I dunno, it still sounds like a cheap radio to me ;) LIke everything in the mix is fighting for a place to exist, but the electronics can't handle it. I have gotten used to it, and when well done (such as in your music) I can actually enjoy it as well :)
Right?! I recall this as being an artifact of a system literally suffering from not having enough power for the intended volume. But that means you can be judicious with the effect and give the impression that the song is cranked louder than it is. And, as a tool to make space for other details, it's awesome. Compressing a pad around a kick, etc, but letting the rest of the mix breathe normally.
@@payt01 totally fair dialog! I produce almost every genre of electronic and pop, and some really don’t use much sidechain. This genre of this tutorial however (progressive) is really defined by that pumping so you can have these massive clicky sine kicks without having to give up using big full range synth chords and plucks. It’s a compromise for sure, but important to get the genre authentic. Check out Come Home - Alpha 9, one of the songs that pioneered this effect of the heavy pumping on the entire synth bus. If I was putting more time into this demo, I’d create atmospheres around the main idea that were not sidechained to help it breathe, but for this tutorial I kept it bare
is its audio processed digitally or analog?
@@kisho2679 analog! It’s a genuine true stereo analog compressor
It always baffles me why synth heads conceal about their compressor. Like we know the sound is passing through some board but is hidden. Thanks for this vid. Though I wish it had numbers.
@@bengsynthmusic the parameters aren’t hidden, you can see where I move each knob to. Also, every compressor scales or represents values different. That’s why I use broad terminology like “use a slow attack and a fast release, with a high ratio”.
It’s like cooking, “add a pinch of salt”
i hate sidechain and volume compression on master bus ... pant effect omni presence takes all place in an artifical way, monotone and boring
@@alainthiry3965 I feel you but it’s pretty much necessary for this genre of electronic. When I’m doing tracks outside the genre of this demo song I will be much more sparing with sidechain!