This is pretty much all I think about. Wife at dinner: "How was your day dear?" Me: "Well I learned that short release times can emphasize pumping and if I really crank down the threshold I can hear it but is there a way to time that to the beat? And if the threshold is higher I can't hear it is it still there and will others hear it? And then does it make sense to adjust that separately in one or more bands in ReaXComp?" Wife:"Have you tried an LA2A clone? It might be interesting with its variable release time..." Thanks Kenny for all you do in keeping the dinner conversation flowing.
Ha ha! Loved this as I’m just having breakfast with my wife and talking about this video/compression to her - she’s excellent at faining interest! 🤭 Maybe I need to tweak her ‘make up’ gain?
this for me is one of the greatest mysteries. the theory is clear to me, the practice is not. Thanks to your video, the theory is even clearer to me, and the practice a little less obscure
@@Beemerboy324 You are definitely right! I often ask myself: am I operating correctly? Up to which point do I have to (or can I) intervene on the threshold and correspondingly increase the gain? Not to mention how to apply compression to various instruments or even the mix (for me it is a dark chasm). It is clear that, as in theroy music in which I am most skilled, it is a path in which one should study, deepen the basic concepts and, as you rightly said, do numerous tests. You can't improvise.
Damn, there's so many compressors in Reaper, that I didn't take any time to inspect the others, just went with ReaComp and fiddled with it. Frankly, I didn't even know that 'General Dynamics' was a compressor, but that tool looks great! Graphic illustration made it so much easier to understand.
This is probably the one channel that teaches the most and is the easiest way to learn. It approaches individual techniques thoroughly, explains why and what for, and gives examples of the outcome. The fact that you have only 117K subs says everything about the softwares market penetration and nothing about the quality of your videos. Thank You Kenny!
Just getting back to Reaper after years of doing non-audio stuff. This is excellent for refresher/reminder time! Now I must dig up my Izotope plug-ins and figure those out all over again. Thanks for these fine vids!
Theres a little trick that i learned from a channel named Nando Costa, to listen better the effect of a compression just after that i really started to understand better what was happening. the attack tend to affect more on low frequences(yep like an eq), less attack on comp = more low end on that sound, more attack on comp = less low frequences listen to the kick at 2:35 the release tend to affect more on high frequences less release on comp = more high end on that sound, more release on comp = less high frequences listen to the hats at 3:08 the other parameters affects exactly like Kenny said on the video, remembering that each compressor can have his own parameters, tbh the only one that even today i still struggle on how to listen to it is the ratio, i understand how it works but to listen and associate that change on my brain still a problem so i tend to use compressors in a more conservative form(2:1-4:1) and experimenting with higher ratios
Just want to add that, I believe that the reason for this tendency is not that compressors are frequency sensitive. But that Low frequencies tend to use a lot more “energy” than High frequencies, and the compressors are responding to that energy crossing the threshold. The ADSR envelope of a sound is being reshaped by the (dynamic range) compressor. The High frequencies may never reach the threshold or decay quickly, and they can often be reshaped by the Release settings as you say. But it isn’t because they are high frequencies, just lower levels. To my understanding…
@@G_handle if i understood correctly, yes, the change on other parameters, threshold for instance, also affects how much we perceive the changes on these frequences
Thank you for this important lesson! I could hear he compression results clearly in the vocal, but not so much on the drums. When you played the uncompressed mix, yeah, the vocal got lost and the drums overpowered it. But after you compressed the vocal, everything was more cohesive and clearer. Great tutorial, as always! Thank you so much!
My ears can't distinguish as much as my eyes can. I'm learning to use visual mixing as much, if not more than audio mixing. I can see the difference more than I can hear it, but doing that way, I can eventually hear the difference. Probably doesn't make sense but works for me
I've learned it's all about the attack and release times to create a groove after the ratio and threshold recently...thanks covid..😁 It's never ending the learning though. I want to combine the Silika with the General Dynamics or the 1175 in Paralell...a bit of each. The swing changes on the attack and tail. I only got into that this last year. Another great video. Nice pop meets Amy btw. Like that old style.
Ever since I discovered upwards compression, I've been doing that a little bit, BEFORE my usual compressor. I use the Waves MV2 for subtle upwards compression, and then the Fabfilter Pro-C afterwards.
Yes! Some peak downwards compression coupled with lower level upwards compression in General Dynamics has been a perfect formula for evening out vocal tracks without making them spitty or hyperventilating! 👍
Thanks for yet another GREAT video, Kenny. Although I usually avoid mixing using visual tools instead of my ears, the General Dynamics plugin makes it so much easier to better understand compression theory that it's really the best of both worlds! One question though, because I've read so many variations regarding an answer: Do you place the plugin at the beginning of your chain? Alternately, when using EQ on the same track I've always read the order should be EQ>Compressor. Thanks in advance for any advice.
@@REAPERMania I'm just greatful to able to play these video over and over until something clicks, I've always a hard time retaining things. Cheers for you help Kenny, it's greatly appreciated.
inspiring video, as always, thanks Kenny! I wonder if it would make sense to use JS 5-band Splitter (and Joiner) with 5 instances of JS General Dynamics, to make something like multi-band gate on drums, or some advanced vocal processing/deessing on vocals/voice? not quite sure if Reaper would deal with varied lookahead settings and phase shifts in parallel 5-band scenario?
Hi there, Kenny, I understand the concept of compression, but lemme ask this ( not only you but the audience as well ): when I have vocals like you have in the video, should I automate the volume first at least a bit? you did one perfect video regarding the automation of vocal volume, so my question is: when to use compression as the one and only tool and when to use volume automation/adjustment? many thanks in advance for the answer :) P.S.: without you, Kenny, the world wouldn't be such a great place to live, you've helped me tremendously and brought a joy from recording and mixing my own music, and I'll be forever thankful for that :) I wish I could live in your neighborhood and pay for some face-to-face lessons, but being in Slovakia is not really possible :D
Slam - Bam - Simple... Man! JS's GD compressor was the one that helped illuminate the light bulb moment for me as I am a visual then apply learner. In today's music, compression is unfortunately many times trapped in a gang bang orgy of over use. The result is shooting blanks and creating sterilized sound.
HI Kenny. All your videos are very useful, Thanks for that. I wonder if there is a chance you could explain a little bit of Pseudo Stereo, and how to use it. Have a nice day.
why I am not hearing Out Of Control by Gloria Tells on the radio more, instead of Amy (too much) Wine-house on repeat great track plus a great tutorial too, thx Kenny (thank god South Park never killed him) lol
@@REAPERMania What is that supposed to mean? There are more than 2 types of UA-camrs. Coincidentally, your answer does not pertain to topic of the commentary. Doesn t take a genius to figure out why, does it? I don't know what you figured, I didn't mean anything wrong man....Maybe you had a bad day...Fine, no problem Kenny ;)....I m cool.....hope you are too ;)
This is pretty much all I think about. Wife at dinner: "How was your day dear?" Me: "Well I learned that short release times can emphasize pumping and if I really crank down the threshold I can hear it but is there a way to time that to the beat? And if the threshold is higher I can't hear it is it still there and will others hear it? And then does it make sense to adjust that separately in one or more bands in ReaXComp?" Wife:"Have you tried an LA2A clone? It might be interesting with its variable release time..." Thanks Kenny for all you do in keeping the dinner conversation flowing.
Also I love the tweaks to the opening this week
Your wife is amazing
@@weaktearecords Correct!
Ha ha! Loved this as I’m just having breakfast with my wife and talking about this video/compression to her - she’s excellent at faining interest! 🤭 Maybe I need to tweak her ‘make up’ gain?
Renew your vows Immediately!
(By which I mean with the fastest Attack and longest Release times possible.)
Oh Kenny, what a young producer like me would do without a mastermind like you? Thanks for teaching us so much
Thank you
this for me is one of the greatest mysteries. the theory is clear to me, the practice is not. Thanks to your video, the theory is even clearer to me, and the practice a little less obscure
I find that practice really helps you understand it and to train your ear to hear the subtle differences.
@@Beemerboy324 You are definitely right! I often ask myself: am I operating correctly? Up to which point do I have to (or can I) intervene on the threshold and correspondingly increase the gain? Not to mention how to apply compression to various instruments or even the mix (for me it is a dark chasm). It is clear that, as in theroy music in which I am most skilled, it is a path in which one should study, deepen the basic concepts and, as you rightly said, do numerous tests. You can't improvise.
This is probably the clearest overview of compression that I have ever watched or read. It’s a big learning curve for me. Thanks very much.
Thank you very much. You are the best teacher. I am realy grateful to you 👍👍👍👍👍.
Damn, there's so many compressors in Reaper, that I didn't take any time to inspect the others, just went with ReaComp and fiddled with it. Frankly, I didn't even know that 'General Dynamics' was a compressor, but that tool looks great! Graphic illustration made it so much easier to understand.
Thanx Kenny
This is probably the one channel that teaches the most and is the easiest way to learn. It approaches individual techniques thoroughly, explains why and what for, and gives examples of the outcome. The fact that you have only 117K subs says everything about the softwares market penetration and nothing about the quality of your videos.
Thank You Kenny!
Great explanation!
I was juuuust about to look up compression videos of yours- and here’s a brand new one right away! Thank you!
Nice. I was skeptical about 200ms of lookahead, but that worked so nicely. Thanks for the great tip.
Just getting back to Reaper after years of doing non-audio stuff. This is excellent for refresher/reminder time! Now I must dig up my Izotope plug-ins and figure those out all over again. Thanks for these fine vids!
Oh wow! Good to see you, man! Thanks for all your help over the years. Cheers!
Nice explanation Kenny, Thanks for all you do.
Thank you
Once again, Thank You so much. I always learn something when I watch your videos.
Outstanding, thank you for that very clear and easy-to-understand explanation.
Theres a little trick that i learned from a channel named Nando Costa, to listen better the effect of a compression just after that i really started to understand better what was happening.
the attack tend to affect more on low frequences(yep like an eq),
less attack on comp = more low end on that sound, more attack on comp = less low frequences
listen to the kick at 2:35
the release tend to affect more on high frequences
less release on comp = more high end on that sound, more release on comp = less high frequences
listen to the hats at 3:08
the other parameters affects exactly like Kenny said on the video, remembering that each compressor can have his own parameters,
tbh the only one that even today i still struggle on how to listen to it is the ratio, i understand how it works but to listen and associate that change on my brain still a problem so i tend to use compressors in a more conservative form(2:1-4:1) and experimenting with higher ratios
Just want to add that, I believe that the reason for this tendency is not that compressors are frequency sensitive. But that Low frequencies tend to use a lot more “energy” than High frequencies, and the compressors are responding to that energy crossing the threshold. The ADSR envelope of a sound is being reshaped by the (dynamic range) compressor. The High frequencies may never reach the threshold or decay quickly, and they can often be reshaped by the Release settings as you say. But it isn’t because they are high frequencies, just lower levels. To my understanding…
@@G_handle if i understood correctly, yes, the change on other parameters, threshold for instance, also affects how much we perceive the changes on these frequences
Thank you Kenny. You are doing a lot for all of us Reaper Users. Love your tutorials.
Thank you for this important lesson! I could hear he compression results clearly in the vocal, but not so much on the drums.
When you played the uncompressed mix, yeah, the vocal got lost and the drums overpowered it. But after you compressed the vocal, everything was more cohesive and clearer.
Great tutorial, as always! Thank you so much!
Thanks Kenny, very useful. Good tune as well
Thanks again to make things more easy for us to understand. This is not an easy task at all, but you do it . Thanks 👍
Love that tune!
Thank you! These tutorials are gold 🙌
Thanks Kenny!
Excellent explanation!
Thanks, Kenny.
Kenny, thanks so much for this! So helpful!!! (Like ALL of your excellent videos.)
super content !! _ btw beauty song ;)
My ears can't distinguish as much as my eyes can. I'm learning to use visual mixing as much, if not more than audio mixing. I can see the difference more than I can hear it, but doing that way, I can eventually hear the difference. Probably doesn't make sense but works for me
Thanks Kenny❤
I've learned it's all about the attack and release times to create a groove after the ratio and threshold recently...thanks covid..😁
It's never ending the learning though.
I want to combine the Silika with the General Dynamics or the 1175 in Paralell...a bit of each.
The swing changes on the attack and tail.
I only got into that this last year.
Another great video.
Nice pop meets Amy btw.
Like that old style.
Ever since I discovered upwards compression, I've been doing that a little bit, BEFORE my usual compressor. I use the Waves MV2 for subtle upwards compression, and then the Fabfilter Pro-C afterwards.
You can use the General Dynamics to do it as well. Just draw on the other side of the chart or graph.
Yes! Some peak downwards compression coupled with lower level upwards compression in General Dynamics has been a perfect formula for evening out vocal tracks without making them spitty or hyperventilating! 👍
Thanks for yet another GREAT video, Kenny. Although I usually avoid mixing using visual tools instead of my ears, the General Dynamics plugin makes it so much easier to better understand compression theory that it's really the best of both worlds!
One question though, because I've read so many variations regarding an answer: Do you place the plugin at the beginning of your chain? Alternately, when using EQ on the same track I've always read the order should be EQ>Compressor. Thanks in advance for any advice.
Wow singer Billy Joel doing tutorials. It's about time. I like how Billy changed his name to Kenny.
I still have difficulty with understanding Compression ...... Cheers kenny!
It takes time. Probably took me a decade.
@@REAPERMania I'm just greatful to able to play these video over and over until something clicks, I've always a hard time retaining things. Cheers for you help Kenny, it's greatly appreciated.
I need to watch this!
inspiring video, as always, thanks Kenny!
I wonder if it would make sense to use JS 5-band Splitter (and Joiner) with 5 instances of JS General Dynamics, to make something like multi-band gate on drums, or some advanced vocal processing/deessing on vocals/voice?
not quite sure if Reaper would deal with varied lookahead settings and phase shifts in parallel 5-band scenario?
From all compression plugins with reaper what is mostly used for guitar and what for vocal?
Hi there, Kenny, I understand the concept of compression, but lemme ask this ( not only you but the audience as well ): when I have vocals like you have in the video, should I automate the volume first at least a bit? you did one perfect video regarding the automation of vocal volume, so my question is: when to use compression as the one and only tool and when to use volume automation/adjustment? many thanks in advance for the answer :) P.S.: without you, Kenny, the world wouldn't be such a great place to live, you've helped me tremendously and brought a joy from recording and mixing my own music, and I'll be forever thankful for that :) I wish I could live in your neighborhood and pay for some face-to-face lessons, but being in Slovakia is not really possible :D
Awesome
If this was a video about understanding noise gates, I wouldn't believe you a single word 😉
very great sir thank you
I wanted to hear more of the song!
Slam - Bam - Simple... Man! JS's GD compressor was the one that helped illuminate the light bulb moment for me as I am a visual then apply learner. In today's music, compression is unfortunately many times trapped in a gang bang orgy of over use. The result is shooting blanks and creating sterilized sound.
Hi Kenny. Another Great tutorial.
Idea for tutorial. Removing/reducing MIC bleed from live multi-track recordings :)
I wonder if you could route to a separate track, record the original onto the new track, and see the new waveform with the more even volume visible.
HI Kenny. All your videos are very useful, Thanks for that. I wonder if there is a chance you could explain a little bit of Pseudo Stereo, and how to use it. Have a nice day.
Good idea
My man these a great, you are a mensch!
Just so happens I asked a question about this on your recent posts. Nice one dude :)
Probably why I did it. :)
@@REAPERMania Awesome dude, thank you. Greeting's from Wales.
Thank you for this video tutorial, great info.
Kenny, were you the mixing engineer of Gloria Tells' track "Out of Control"?
No. Sorry.
Beautiful
I usually study plug-ins by ear myself, but the compressor does almost nothing by ear if you twist everything at random.
why I am not hearing Out Of Control by Gloria Tells on the radio more, instead of Amy (too much) Wine-house on repeat
great track plus a great tutorial too, thx Kenny (thank god South Park never killed him) lol
Hi Kenny, Where can I hear this whole finished track?
ua-cam.com/video/ogI5bRISFHw/v-deo.html
9:45 7:35 just setting this as a timestamp in case I need to come back to it
🏆🍻🔥👍🏼
Interaction
2 types of compression? If there were 2 types they would be upward and downward, which has nothing to do with the introductory line ;)...Whatever!
There are two types of commentors.
@@REAPERMania What is that supposed to mean? There are more than 2 types of UA-camrs. Coincidentally, your answer does not pertain to topic of the commentary. Doesn t take a genius to figure out why, does it? I don't know what you figured, I didn't mean anything wrong man....Maybe you had a bad day...Fine, no problem Kenny ;)....I m cool.....hope you are too ;)
@@REAPERMania 🤣😂👌
FIRST
No one cares.
@@bobbyincidemetal I care!!!!
Way to go dude! Hoping to make it some day.
@@bobbyincidemetal except yourself, otherwise you wouldn't have reacted
@@ARE_YOU_SICK_OF_YT_CENSORSHIP Can I care too?
hey, is there a way to compress only high pitched notes that are too loud even when lowering the velocity doesn't work?