T-RackS Comprexxor - The BIG One! (review/tutorial)
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- Опубліковано 9 лип 2024
- The BIG One!! Here's a full-on DEEP-DIVE into the amazingly versatile IK Multimedia T-RackS Comprexxor plugin. This video also functions as a compressor tutorial for beginners as well as an introduction to the Empirical Labs Distressor which this plugin emulates, but with added extras only possible with a plugin. In this video I use Comprexxor on vocals, 808 kick, bass-lines, banging club drum loop, guitar, acoustic drums etc. I also do an A-B comparison between Comprexxor emulating the famous 1176 compared with an accurate dedicated 1176 emulation plugin... Almost 2 hours of audio Comprexxor & compressor/compression juiciness!! You know you love it you audio nerds!
00:00 - Intro to Comprexxor and extensive examples on vocals. Lot's of technical info on Comprexxor and the Empirical Labs Distressor it emulates. The Ratios and other switch modes explained & more.
46:08 - 1776 comparisons including all buttons in mode.
1:00:01 - All Buttons in mode with other ratios, compressing club drum beat & bassline
1:19:31 - Comprexxor on acoustic guitar
1:28:51 - Acoustic drums including the John Bonham sound trick using Max button (emulates the Nuke button on the Distressor)
1:51:06 - Quick example on electric bass using saturation & distortion circuits.
1:52:05 - Summing up and extra features
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Ik Multimedia Comprexxor page:
www.ikmultimedia.com/products...
Elliot Clinch on Spotify:
open.spotify.com/artist/4o8RW...
Elliot Clinch on Apple Music:
/ elliot-clinch
Elliot Clinch on Amazon Music:
www.amazon.co.uk/MY-BAD-Ellio...
Audio Compressors & Audio Compression Tutorials: • Compressors & Compress...
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#TRacKs #Comprexxor #ReviewTutorial
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RecordingMusicTechnology
www.tiktok.com/@dancetech.com
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www.dancetech.com (new major site update coming next year)
IK are giving this away FREE until September 2022 Just need to fill in a short survey! No brainer - get it
fantastic! I pinned your comment. cheers for the heads up.
@@dancetech Thanks for the great videos... you teach us a lot🏆
I was told that it is far better to know a hand full of plugins (or pieces of gear) really well rather than owning them all and mastering none. With that advice I chose the T-Rack Suite since it is the most comprehensive modular collection I could think of. After my purchase I went on a search for the T-Racks master teachers of UA-cam U. Sir, you are by far THE most thorough and informative content creator for IK products. Thank you and, I bid, PLEASE continue.
Thank you very much. I shall be doing a video on the new T-RackS Joe Chiccarelli Vocal Strip soon
@@dancetech OMG definitely looking forward to that!
I like how you actually do research on plugins before doing a review. It also helps that you know how to use them.🤙🏼
Another fantastic tutorial and review from Dancetech. You have a remarkable ability to distill, communicate, and demonstrate complex topics to the great benefit of your audience. Many thanks! : )
What an absolutely bostin' tutorial - I think the clearest and most genuinely useful session on this compressor I've ever seen. Splendid!
Bostin? They still say that round Brum?
This is brilliant! Thank you! There is a real lack of such quality T-racks plugins. I learned a lot from you!
Huge thanks for all these tutorials. So clear, useful and beautifuly explained.
👍 Thanks mate! The HD version is being processed by youtube, it'll take a while due to the length of the video. maybe come back in 1/2 an hour or whatever.
Brilliant review. Fantastic plug-in!
Hands down some of the best reviews/tutorials on mixing and engineering available on youtube. I've been considering adding this plugin to the rest of my T-racks arsenal. Think I might! Looking forward to more videos!
thanks, appreciated. 👍
Excellent review & tutorial.
Super tutorial! Thanks.
Hey...we finally see you. You look different than how I imagined you.
Great vids...btw
Great stuff, thanks! Another I got free in the IK Grope Buy.
Great stuff.You even have that look of famous producers !
ha ha 😅 cheers
Great review, I managed to pick this up for free by doing an online survey!
... Best Regards for Your esteemable videos about Logic Pro and so on : they are wonderful !
Best Regards
ps : I have constantly thought You were Mr . Simon Phillips , the great drummer! LOL
Gonna be honest - to me their 76 emulation and the Comprexxor sound very, very different. The 76 sounds a whole lot brighter and the Comprexxor keeps a lot more of the lows. Not a minor thing - but then again I don't care wether it emulates their emulation, I care wether it sounds good and works the way one would expect.
When it comes to the different Ratios, they are very different from one-another in even more ways, than one might expect. For instance when you turn up the Input-knob on any Ratio EXCEPT the 10:1 and the 1:1 you will introduce a slight boost towards 20k, starting at about 10 k (exponential curve, like the right side of "U".. the curve gets steeper the more you boost). As long as you keep the Input below 6 I doubt this is an audible effect though.
[I can only guess at why they implemented this, but I've heard people talking about boosting the highs before compressing was a common thing for silky topend on SSL consoles. So maybe something amongst those lines.]
Similar thing is true for the Tone-knob. If you have either of the two distortion-options engaged you will boost highs, as long as the tone knob is not pinned to the left (at -5). If you engage either of the options with the knob at 12 o clock (at 0) you will introduce a high-boost starting at about 5 k and rise towards 20 k. Again this is linked to the Input-knob. If the Input-knob is at 5 you will only boost about 2 dB at 20k (starting at ~5k), but if you turn up the Input-knob to 6, you all of the sudden are already boosting around 5 dB at 20 k (starting at ~5k). If you start turning the Tone-knob towards the right, you will also introduce a dip at around 10k (again - if you have the Input-knob above 5), but keep the following boost towards 20k. The curve gets increasingly complex and insane the more you turn the Input-knob or the tone-knob to the right. If you have neither of the distortion-options engaged it will only start boosting the highs if you turn the tone-knob to the right. That means -5 to 0 nothing happens frequency-wise.
The harmonics created also change a bit with every ratio. You don't need the distortion-buttons to add harmonics (although they change it substantially). Just using the Input-knob introduces harmonics. Insignificant at 5, but significant at 6 and above 6 it slighty increases/changes, but the real difference is between 5 and 6. Turning the tone-knob to the right adds a second-order harmonic (with distortion-buttons disengaged). Engaging them changes the harmonic and once they are engaged the tone-knob starts adding a lot more.
In conclusion: All the knobs interact and what one knob does really depends vastly on where the other knobs and buttons are at. It's complex.. I think one would need a lot of time to really conciously know what one is doing with this plugin. It's a plugin you can play with for a long time and get very varying results. Having said that, from a technical standpoint this plugin is stellar. It does not alias at all.. so the harmonics are clean as a whistle - which is a great thing. I've used the Plugin-Doctor analyser to find all of this out - otherwise it would have taken a life-time and a lot better trained ears than mine.
Love your videos, hope I could give something back. Greetings from germany.
Great review mate! Good stuff. 👍 Yes the 76 is a little brighter/clickier.. slightly, but you can eq that subtle difference in if required & overall Comprexxor get's you that flavour really well. Where in Germany are you out of interest? I've been there quite a bit to play gigs, do some TV and just visit. Also used to have a deal with these guys back in the day: www.assconcerts.com
@@dancetech a little town near Frankfurt! That's in the south of Hessen. Getting gigs must be a pain right now - in case you're still doing that. I'm not a player myself, but I've heard of the struggle.
@@akagerhard ah ok, i've not been down that way much, mostly Dusseldorf, Duisburg, Essen & Berlin, with some time also in Wolfenbuttel near Hanover & Hamburg. My favourite bar in Berlin by the canal: www.schleusenkrug.de, very cheap food and BIG garden.
Gigs? it's opening up again. Friends of mine are doing deejay gigs again regularly, dance teachers I know are now doing group sessions again & bands are getting gigs again etc. So it's like a weird society now where the government says there are rules and almost nobody is using the rules in reality. I've been to two gigs recently in central London, in smaller bar type venues. One band I know just lost their bassist so i'm gonna do two gigs with them in the next month while they look for a bassist. It's a hard garage/punk band so it's fast & loud bass-lines & you need to really HAMMER that bass to get the hard sound, but I haven't played the bass or guitar much for so many years, so it's killing my fingers getting into it again!!
@@dancetech Berlin is a special place.. you either hate it or love it. Have only been there about 3 or 4 times myself. It's not my spot, neither is Frankfurt or Essen for that matter. We have a lot of imported and organized crime over here (in the bigger cities), but I guess when it comes to gigs the big cities are still the most fun. It's living there that isn't.
That's good to hear! Yes there's always that dissonance between reality portrayed by news and actual reality. I did wonder how that developed for musicians in other places and I'm glad to hear that people live on - and make a living again. Nothing beats a bass-guitar. When I program my little songs I almost always start with the bass (MODO BASS sounds amazing to my ears, it's my favorite VST and always was). Haha sounds like you're gonna have to pay the blood toll for that gig! May the music-gods accept your tribute and make it two epic nights. Last time I was in the UK I was a child - something like 14-15 years old. I was in Eastbourne (if I remember the name right) and London. I remember that one day - why? I don't know.. - I just got on a bus by my own and drove and watched the people. Got out at some point. Took another bus and so on. Somehow I found my way back after being "on tour" for a couple of hours (no smartphones back then) without any trouble. At one point there was a young woman sucking on the index-finger of what I assume to be her husband/boyfriend in the bus - with no care in the world. I knew it was naughty, but had problems wrapping my head around it, since I had never seen such acts of affection in public transportation before. Since then I believe Britains give less fucks about who sees them and what others think. Must be a blessing and a curse.
@@akagerhard lol, all cities & towns are like that i suppose. I'm from farming country originally, so i guess all cities are crazy compared to the countryside, and yes the British are very strange, always have been. it is a consequence of the history which is quite complicated. Agreed on bass. I might make a video called: "How to play bass in a rock band" for beginner bass players, cos most of the lessons online are scales and theory & all that stuff, or people showing how to play bass for different songs. There is some great players out there though. Here's a friend of mine playing bass, she's really good at that fast finger style which I just cant do: ua-cam.com/video/SsyBp4rA3R0/v-deo.html
Added chapters to the video. see description below or mouse over bottom of video display for chapter titles.
I like the sound you get, do you produce for the public?
@@russellc212 I used to be signed to these guys working under Paul Brown in London. (worldsend.com/about/) Nowadays personal contact work only.
tnx
HD version being processed
Now in HD....!
@@timbeaton5045 yay! i processed the audio as high as I could, 48k 320kb AAC 👍
Makes me wish I owned it
IK T-racks are giving this away FREE until September 2022 Just need to fill in a short survey! No brainer - get it from their website
noticed you were all about console 1, you still like it?
i haven't used it for ages, it's very good sound wise, but really the ilok authorisation & initialisation process is a bit of a faff. I'll get it set up again when the new studio setup begins & maybe do a revisit video on it.
@@dancetech I see, I think they must have changed all that cause for me iLok and all that has been super smooth, with the installer they have. But I just started getting into Softube in the last year I think
@@Sebastianandthedeepbluemusic it's not that iLok is that bad but i had some issues with working out what email I used and all that after not using it for a while & then if i remember rightly ( cos as i said it's been a while since I used it) you have a different pass for the actual softube account & have to manage the two accounts. But again, the actual softube stuff is great, but i'm not sure it's that much better than the Ik Multimedia or other emulations, but the softube has added extras, particularly the Punch on the gate is seriously good
Why how is ik so good at modelling? They do a very good job on many plugins.
This is a great review and very detailed tutorial but I can’t help feel your description of sidechain filtering is a bit confusing. You provide a really clear explanation of what a sidechain circuit does but then start talking as if the compressor is a split band compressor. Surely the sidechain filter impacts the trigger signal and therefor can only change which frequencies trigger compression. When compression is applied it is broadband compression, effecting all frequencies present within the compressed signal. If you select the sibilant range with the sidechain filter, points where sibilants are present will get compressed but all frequencies present will be compressed equally. It’s not just the sibilant range that gets compressed. Otherwise, very informative.
yes to an extent, but you are over thinking it a bit maybe?
In the case of de-essing, you are ignoring other frequencies and sibilance is fleeting just for a split second, the sibilance will be overloaded and louder than other vocal frequencies AT THAT POINT when an 'SSS' sound is being produced, and thus you are just pushing that down only, not frequencies below the threshold, plus you drive that problem treble area into the comp HARD & HIGH so it reacts more to that frequency area.
In the case of ignoring or filtering out bass-end, mostly it is always the bass end such as kick in a drum loop which triggers a comp first as it has way more energy, so yes, if a loud snare triggered the comp then any bass-end at that moment yes will be compressed, but generally in loops the kick & snare are separate.
In the examples in the video when there is low end content in any sound and i raise the Hi-Pass enough you can hear the bass coming through, and when i lower it you can see more gain reduction immediately begin to happen as the bass end is now being compressed.
How the release is set also will effect things - for example in a vocal the singer sings: SSSoooo.. and the comp squashes the SSS & let's go for the oooo part of the word 'so' if you hold release, the comp will still be pegging the levels for what follows
A comp is pretty much used on individual sounds/tracks. So things dont get mixed together so the comp is not effecting other items when it compresses a kick drum or bass as they are generally on their own tracks.
Mix compression (or external side-chaining of course does then cause one thing to compress other things & that is a sound in itself people seek out quite often.
I agree with what you say here but it’s a common and easy misconception that it is the frequencies selected in the sidechain that are being compressed. And while it may be a matter of somantics, this sort of lack of clarity leads to misunderstanding of what is happening and then when trying to use the same technique in a new situation unexpected results are achieved. Confusing frequency dependent compression with frequency compression is a fundamental misunderstanding and as you seem to use the concepts interchangeably it could easily lead one to think something is happening that isn’t and therefore misunderstanding what sidechain filtering achieved.
Another important pint is that bus and mix compression is common place and sidechain filtering will not react I exactly same as it will on an individual channel/track/instrument.
@@ProperLofiMusic I get what you are driving at, but it IS the frequencies selected in the sidechain that are being compressed if one presents a narrow band to the sidechain, and I only used the phrase 'frequency conscious compression' in the video btw so I have not used either of the phrases you have listed, 'interchangeably'.
There's only so much detail you can and SHOULD use when doing this stuff & i cover a lot in this video without befuddling & sidetracking some relative beginners head and making the video 1/2 hour or more longer by drilling into the minutiae of how sounds have different frequencies with different amplitude envelopes which overall comprise the sound we hear, and then explain that freq' concious compression combined with various release envelopes (and to some extent dependent on compressor model behaviour) will generally compress transitory loud spikes in their particular freq region while generally leaving alone other frequencies with different envelope times...
and i'd have to add to that a whole bunch of additional guff about how we hear sounds, both in literal terms (human hearing frequency consciousness), and the whole stuff of psycho-acoustic phenomena about how we hear sounds. For example if you have a flat amplitude bass tone and fire off a loud snare at intervals over it, our ears don't hear the bass as a continuously flat amplitude when the snare hits at those intervals... to go into all that would be a bit much. So the info given is generally correct.
I dunno.. it's kinda like teaching any subject. GENERALLY you wouldn't walk into a Chemistry class & begin with: "OK students, now the first thing you have to grasp is that there is nothing physical in the universe, nothing actually exists in any physical form, there is NO solid matter in the universe at all.. You don't exist, i don't exist, that table does not exist!" .. or you're starting a bit too far down the whole race course perhaps, lol 🤪
I totally get what you are saying and as a teacher, understand that there’s a fine line between generating understanding and overwhelming. Here’s my issue; when you say it is the frequencies selected within the sidechain that are being compressed it’s fundamentally inaccurate. If you select bass frequencies in the sidechain they will trigger compression but at the point of compression, high frequencies will be subjected to equal gain reduction. Therefore it’s not the frequencies being compressed but the entire signal. Sure, masking etc has an impact on perception but the bottom line is, broadband compression is broadband, split or multiband isn’t and no amount of sidechain filtering will change that. It doesn’t take a metaphysical discourse to make that point and it helps those less familiar with the processes make informed decisions.
Please, don’t get me wrong, I love your channel, I bought a whole load of IK software based on your reviews and your Rodin guides are the best I’ve seen (and I’ve looked hard). But having formally taught compression, it’s a minefield of confusing concepts and so clarity of terms and function are super important if beginners are not going to get derailed.