How to tell from compressors

[j3ffr0]

Yeah, the easiest way to learn is to experiment. Use the plugins on your DAW, then use them again, and again. Compare compressed versus uncompressed. Listen to different compressors. Repeat, repeat, repeat! It can be helpful to have a physical compressor for some of us. In my case, I seem to be more willing to keep twisting physical knobs than virtual ones. There's a comfort factor there for an older dog like me. But of course I use both.

In general the VCA are probably the most common and versatile. Where as other compressor types are known to have a color, these can color the sound too, but often do not. Once one get's comfortable setting threshold, attack, release, ratio on a VCA and can hear the differences, they are more than half the way home. Many of the other types often have fewer settings are are simpler to dial in. After some time, one starts to get used to a certain flavor that different individual units bring.

I find that the color can vary as much or more from model to model than type to type. But one has to be willing to go through a dozen, two dozen, or more individual compressors to really get a feel for these subtle flavorings.

[keith.rogers]

Never used a hardware/outboard compressor. But, I can say that while I am not able to hear the application of, say, compressor A and then B and then identify what kind of compressor [plugin] is being used, but I can usually detect a difference in sound, and do have my favorites for specific application.

I've never felt the need to move beyond the set of compressor "emulations" that are built in to Logic Pro. Now, back to sentence #1, I don't know if they are accurate to the hardware, but they suffice for my needs.

Here's a link (Google Drive) to a PDF - memory jogger I put together - that shows the models they at least suggest (based on looks and an article I read some years ago).

Logic does, in almost all instances, have the same "knobs" on the compressors, regardless of what the original hardware had, and the numbers all work in the same way, which makes comparisons somewhat easier I think. But, in the end, just having a collection of different types is not a bad thing, and then learning how the controls affect the sound, and being able to pick the one that best serves the mix/track is the only way to learn about them.

[DupleMeter]

Originally Posted by Bob Womack

People forget that everything was knobs back then - no visuals. That was also very useful.

I still insist on knobs & faders when tracking. There's just no better way to do it effectively. Too many in the moment changes need to be made to be mousing & clicking.

I used to do the hybrid mix thing to have hardware with knobs, buttons & switches. It's just not worth the extra time & added variables on recall to do it that way anymore.

[b1j]

I’d like to see each of the four native Studio One compressors labeled with the basic compressor type it emulates. I think Presonus is trying to avoid copywrite problem by calling any of its emulators “a _____ type” compressor. But it would help me bridge a gap in my learning process to know “that’s a ___ copy.” Has anyone seen a reference like this? I’m thinking about “Compressor” and the three compressors in the standard Ampire plug-in. Those four.

By the way, I’m completely convinced that the method you folks recommend is the best way to learn what these dynamic processors do. Hands- and ears-on, trial and error, give it time. I’m going to start with a single track and work my way through the sources: acoustic guitar (which I recently found a successful tracking setup for!), vocal, bass, drums, virtual instruments. In fact, the reason I’m turning my attention to plug-ins is that I have reached the stage where my raw tracks are satisfying.

I’m prepared to not be in a hurry, but I’m going to stick with native emulators only until I know enough to tell the difference (if I ever do). Even then, I suspect I’ll be able to do anything I want with the native tools, especially if I understand them better.

Oh, and I fully expect to EQ out the noise before I ask the compressors to do their job.

_________

But, wait for it, there is a giant However on the way…

[Brent Hahn]

Originally Posted by DupleMeter

I used to do the hybrid mix thing to have hardware with knobs, buttons & switches. It's just not worth the extra time & added variables on recall to do it that way anymore.

I went totally ITB for a while. Now I've got 2 hardware comps (settings never get touched) and 6 vintage transformers sitting on Pro Tools i/o inserts, and that's working out well for me. Recall's the same as totally ITB.

[Bob Womack]

Originally Posted by DupleMeter

I still insist on knobs & faders when tracking. There's just no better way to do it effectively. Too many in the moment changes need to be made to be mousing & clicking.

I used to do the hybrid mix thing to have hardware with knobs, buttons & switches. It's just not worth the extra time & added variables on recall to do it that way anymore.

I track through a console with faders for the same reason. I do full band at the studio. I've got outboard preamps for the money channels as well.

Bob

[DupleMeter]

Originally Posted by Brent Hahn

I went totally ITB for a while. Now I've got 2 hardware comps (settings never get touched) and 6 vintage transformers sitting on Pro Tools i/o inserts, and that's working out well for me. Recall's the same as totally ITB.

My friend Jay Newland does that, with the Neve he bought when RCA closed down. I tried it, but I didn't gel with that method of leaving comps set one way & never touching them. I also got some "hey, this isn't the same as the last one" comments from artists because the reality of hardware is that it performs differently when it's been on for 15 minutes vs 15 hours...especially the tube gear.

Honestly, ITB is so much better these days that I don't feel I'm giving anything up. I have 3 S1s & a Dock for 24 faders, monitor & plugin control at my fingertips. That gives me all the touch control I want for the mix stage.

[b1j]

I always feel a little dense at times like this. Could someone inform (remind?) me what ITB means? It’s another TLA I’m not hip to.

[jim1960]

Originally Posted by b1j

I always feel a little dense at times like this. Could someone inform (remind?) me what ITB means? It’s another TLA I’m not hip to.

ITB=in the box. It means you're working entirely with plugins and not using any outboard gear.

[b1j]

Originally Posted by jim1960

ITB=in the box. It means you're working entirely with plugins and not using any outboard gear.

Easy enough. Thanks, Jim.

[jim1960]

Originally Posted by DupleMeter

Honestly, ITB is so much better these days that I don't feel I'm giving anything up. I have 3 S1s & a Dock for 24 faders, monitor & plugin control at my fingertips. That gives me all the touch control I want for the mix stage.

I think many of us go through phases. I was totally against the idea of adding outboard gear for a lot of years. Then my curiosity got the better of me, and I ordered an Audioscape Opto just to see how different it was to the UAD LA2A plugin. I was surprised by how much smoother the Opto was with the high and high-mid frequencies. The plugin always sounded good to me but I had never had a hardware compressor to compare it to. The comparison sold me. And since one comp limits what I can do with it, I ordered a second Opto ...then a pair of 76A ...then a Buss Comp ...then a V-Comp ... then I got into the 500 stuff.

Woosh!~ I rolled right down that hill.

[KevWind]

Originally Posted by Brent Hahn

I went totally ITB for a while. Now I've got 2 hardware comps (settings never get touched) and 6 vintage transformers sitting on Pro Tools i/o inserts, and that's working out well for me. Recall's the same as totally ITB.

Interesting, what does 6 vintage transformers mean ?

I do understand the set it and forget it I have only one hardware comp ( usually on my 2 Bus) and I pretty much use the same settings (except I will adjust the gain settings ( I almost always run it in M/S ) and will vary the gain to get the focus I want in the mid to side relationship depending on the session itself)


The gain are the first knobs to right of the VU meters (the upper is Mid the lower is Side)

[Brent Hahn]

Originally Posted by KevWind

Interesting, what does 6 vintage transformers mean ?

The long story -- I'm still using a PT TDM system, and I've got a 192 box that's just doing i/o inserts. In my day job I get lots of voice tracks (VO mostly) that are done in home studios, often using less-than-great gear. So the 192 has two dbx 160xt's parked on it for overall smoothing, two UTC A-20's (ca 1970) for moderate tonal mellowing, two Stancor A-4407's (1949) for extreme de-harshing, and two UTC H-25's (1967ish) that are none of the above, but do a couple other cool things. I had imagined I'd get some other hardware to swap in for at least the last two transformers, but so far I haven't.

[AcousticDreams]

Originally Posted by jim1960

I think many of us go through phases. I was totally against the idea of adding outboard gear for a lot of years. Then my curiosity got the better of me, and I ordered an Audioscape Opto just to see how different it was to the UAD LA2A plugin. I was surprised by how much smoother the Opto was with the high and high-mid frequencies. The plugin always sounded good to me but I had never had a hardware compressor to compare it to. The comparison sold me. And since one comp limits what I can do with it, I ordered a second Opto ...then a pair of 76A ...then a Buss Comp ...then a V-Comp ... then I got into the 500 stuff.

Woosh!~ I rolled right down that hill.

Would really like to hear which hardware comps you are using for which duties.
Even further, Why you feel a certain style of compressor works better for that duty.

Which is one of the reasons why I started the "Diving Deeper: Styles of Compressors?" Thread. I know the stated principles. But if there is anything that I have learned in life, Theory and Practice don't always align.

[jim1960]

Originally Posted by Knives&Guitars

Would really like to hear which hardware comps you are using for which duties.
Even further, Why you feel a certain style of compressor works better for that duty.

Which is one of the reasons why I started the "Diving Deeper: Styles of Compressors?" Thread. I know the stated principles. But if there is anything that I have learned in life, Theory and Practice don't always align.

I mostly use these when tracking...
The V-Comp for vocals almost all the time.
The Opto for fingerpicking guitar and for vocals when the V-Comp isn't what I'm looking for.
The 76A comps for strummed instruments.

As a rule, I err on the side of caution on the way in. I'd rather have too little compression and have to add more later rather than have too much permanently on the track at the beginning.

The Buss Compressor is the exception in that group. It sits on the two-buss for everything to be mixed into.