Fab goes over the history of compression and plays examples of different instruments with and without compression, including laying some drums off to tape. This is a must watch video for anybody who is looking at getting a thorough understanding of what compression is, where it comes from, and what it does.
Chapters: -Compression principles -Compression history -Vocals thru UAD LA2 -Different snare compression sounds -Bass drum compression -Full drumset and bass to tape
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00:00:07 Good morning children! Today, we're
going to talk about compressors.
00:00:10 Mmm... Compressors...
Who came up with that idea?
Well.. originally, early 20th century-ish,
compressors were invented
as a way to prevent equipment
from blowing up from too much level.
00:00:21 For example, you had a guy
who knew how to read music...
00:00:26 who would follow the orchestra,
reading the score...
00:00:29 while the orchestra was playing live.
00:00:31 His job was to anticipate just
how loud the orchestra would get
and compensate on the fader,
bring it down...
00:00:36 when the orchestra would get too loud
and overload the gear.
00:00:39 Simple! Somebody came down and said...
00:00:42 I bet you I can make a machine
that does that automatically.
00:00:45 So they made a machine,
they fired the guy.
00:00:48 And then, as time went by...
00:00:50 compressors got better, and cheaper
some derivative uses were invented
but, really, that's what it is:
it's an automatic gain riding device.
00:01:00 Meaning, it's a machine that's designed
to keep levels consistent. That's it!
As an example of what I just said,
I'm gonna play you a vocal track...
00:01:09 that has a lot of dynamic range...
"level changes".
00:01:12 I'm gonna play it raw, then I'm gonna
attempt to ride it by hand
and then I'll let the compressor
ride it for me.
00:01:19 So, first, flat.
00:01:22 It sounds like this.
00:01:30 Alright, nice! Simple.
00:01:32 Pre-chorus...
00:01:38 Obviously, quite a bit louder.
Maybe he leaned in the mike.
00:01:43 Wow!
So, obiouvsly, the chorus
gets much louder.
00:01:54 Maybe it's a punch-in, maybe
it's assembled from a different take
maybe he leaned into the microphone
very much...
00:02:00 Anyway, I can't have that.
00:02:02 So I'm gonna try and ride it by hand.
00:02:05 Here it comes, with my finger,
trying to ride these levels.
00:02:08 From the same spot.
00:02:17 Ok, that's my reference-ish, I'm gonna
take it down 3dBs-ish.
00:02:24 Not bad...
00:02:25 And here comes the chorus.
00:02:30 Wow!
Mmm...
00:02:38 Obviously here, I underestimated just
how loud the chorus was gonna get
and the word "Same" caught me
by surprise.
00:02:45 So, say if I'm to do that part again,
I'm gonna start from the pre-chorus here...
00:02:49 and I was about at -3 on the pre-chorus.
Let's do that again.
00:02:58 And then... stay here,
and then come down.
00:03:07 Mmm...
00:03:12 That's much better. I kinda missed
on the "Let's get down"...
00:03:15 I think that kind of dynamic range
would be ok with the full track.
00:03:18 Let's listen to the compressor doing
the same thing...
00:03:21 without me doing anything. I'm gonna
put the level back at 0 here...
00:03:24 and turn my compressor on, this is
a UA emulation of an LA-2A...
00:03:28 which is often used to compress vocals.
Here you go... Check it out!
So here, it did very little, because
that's our reference level. And then...
00:03:47 That's nice. It's still louder,
but it's contained...
00:03:49 Chorus...
00:04:00 Obviously, the compressor did
a better job than I did
at catching the word "Same", and then
the word "Let's".
00:04:06 But it changes the sound, check it out!
Let's play this track flat...
00:04:10 no compression, at say -6db...
00:04:13 to compensate for the fact
that it's louder...
00:04:15 manually... Here you go.
00:04:25 Nice. Now, I'm gonna
put it back at 0db...
00:04:27 and let the compressor
take the level down.
00:04:38 If you listened carefully...
00:04:40 you heard a difference between
the manual gain riding
and the automatic gain riding.
00:04:45 If you did not hear the difference,
that's ok...
00:04:47 Press Rewind, play it again, and again,
until you hear the difference.
00:04:52 You will!
The key here is to form our taste...
00:04:56 on the benefits of compression
versus the drawbacks of compression...
00:05:01 and use that taste to decide whether
we need compression or not
on a track per track basis.
00:05:07 Let's listen to a bunch of tracks
with and without compression
to learn what it does to music.
00:05:13 Here's a snare drum, just a 1 bar loop
on a live snare drum
from an actual drummer playing
an actual drum set.
00:05:20 Pay attention to the transients,
the ghost notes, the tone of the loud hits.
00:05:25 Just try and learn how the snare
sounds by itself. Here it comes.
00:05:41 Ok. I'm gonna use a built-in Digirack
compressor that comes with Pro Tools.
00:05:46 I'm gonna use presets, because the point
here is not to learn how to get there...
00:05:51 but to hear different tones and
imagine different tones...
00:05:55 without touching the compressor.
So I made some presets.
00:05:58 On this snare drum...
00:06:00 the way it sounds right now, the peaks
annoy me a little bit.
00:06:03 I don't like that "Poing!",
I don't like that tone...
00:06:06 I think the microphone was a little
too close to the snare
and it does that sound I don't like.
So I made a preset...
00:06:11 that attempts to tuck in
just those peaks on 2 and 4.
00:06:16 I'll play the track 2 bars raw,
2 bars compressed.
00:06:19 Here we go!
That's cool, that does what I wanted.
00:06:44 But that's a very utilitarian
version of it.
00:06:48 What if I wanted to manipulate
the sound a little bit?
What if I wanted to raise those
ghost notes...
00:06:53 because they're very interesting to me.
I like all that little details he's playing.
00:06:56 What I would do is attempt to take
those peaks down
so that they're quiet enough,
that I can raise the whole track up
and I can hear more ghost notes.
If the peaks are softer...
00:07:05 then the ghost notes are gonna be
able to go louder.
00:07:08 So I made a little preset for that,
called Raise Ghost Notes.
00:07:11 Fancy that. 2 bars without,
2 bars with.
00:07:36 Obviously there, there's a compromise,
because the peaks get squashed.
00:07:42 Maybe it's a good idea,
maybe it's not...
00:07:44 maybe the overheads are gonna
compensate for that, I don't know.
00:07:46 But it gives me an idea of what if
I wanted to really change
the tone of the snare, and go crazy
on it, and completely crush it.
00:07:53 So here's 2 bars without,
and two bars with a crush.
00:08:19 Obviously a completely different sound.
Now we have the same compressor...
00:08:22 3 different settings, 3 different
approaches...
00:08:25 and so to the question:
how do you compress a snare?
the answer is: I don't know!
What do you want it to sound like?
And that's the key.
00:08:34 Let's listen to a bass drum.
00:08:35 I'm using an Oxford Compressor,
right now it's bypassed.
00:08:38 I'll play 2 bars flat, and 2 bars
with the setting I made
when I mixed this record.
Check it out.
00:09:05 In this case, I used the compressor
to give the bass drum more attack
and a weird kind of sustain thing.
00:09:11 Probably because at the time, I was
more in a fiction mode
than a documentary mode.
00:09:16 I think it is very important to have
a vision...
00:09:20 of what the sound should be like, before
we start fiddling with the equipment...
00:09:23 and let that vision dictate the settings,
not the other way around.
00:09:29 Ultimately, it's all about taste, and
that's the beauty of the whole thing.
00:09:34 Everybody raves about the sound
of older recordings...
00:09:37 or what they remember they sound
like, sometimes.
00:09:39 Take a second to listen to an old
Beatles recording for example...
00:09:43 like "Love me do", on your studio
monitors.
00:09:46 Ask yourself:
Does it sound the way I remember?
Go ahead, listen, I'll wait.
00:09:54 Interesting, isn't it?
At the time, they didn't use
compression much, if at all.
00:09:59 They did have tape.
00:10:01 Now tape does something that's
sort of kinda...
00:10:04 like compression, but not really.
00:10:06 Probably it would be a good idea
to listen to what tape does.
00:10:09 Let's print that drum track to tape
and compare.
00:10:13 That's me setting up tape the best
I can, it's a skill...
00:10:17 I have a Studer B67 1/4",
1/4" sounds great.
00:10:20 We'll be using 30ips,
inch per second...
00:10:24 and an old piece of Studio Master
900 tape, which sounds great.
00:10:28 Every piece of tape sounds different,
every tape machine sounds different...
00:10:31 every speed sounds different,
but we're not gonna worry about that
we're just gonna try and focus on
what tape in general can do to music...
00:10:38 and then we can discuss the rest
another day.
00:10:40 So... here's how it's gonna work:
2 positions...
00:10:44 when the switch is up,
and this light is lit...
00:10:48 you're in input, no tape sound.
00:10:51 When the switch is down,
and this light is lit...
00:10:54 you're in repro, you're hearing tape.
00:10:56 We'll start without. I'll play 2 bars
with, and 2 bars without.
00:11:01 Here we go.
00:11:26 Cool!
If you haven't heard it,
I'll play it again.
00:11:29 Pay attention to the bass.
Is it the same? Is it fatter?
More forward, or backward?
And also the snare...
00:11:35 especially the attack of the snare.
00:11:37 Is it peaky? Is it like aggressive,
angular?
Or is it different, a little softer?
Is the tone a little darker?
Ask yourself those questions, ok?
Here we go!
First without, and then with.
00:12:12 Cool! That's a good sound.
I personally like that sound.
00:12:15 I made many records before I even had
a chance to listen or use tape.
00:12:19 And I remember spending a lot of time
trying to imitate this feel and this tone...
00:12:23 usually, using compressors.
00:12:26 Sometimes it works...
00:12:27 and sometimes it doesn't, we can
discuss that...
00:12:30 but until then, I thought it would be
worth a thought.
00:12:33 That was interesting too!
Ultimately tape went away.
00:12:36 System, we got digital, big consoles,
insane track counts.
00:12:41 We also got the fact that people
no longer...
00:12:44 play in the room together
to cut the song...
00:12:47 which means that dynamics are
no longer molded together.
00:12:50 They kinda sound unnatural,
unless you do something about it.
00:12:54 And then, modern music sounds
more in more in your face.
00:12:57 People swallow the microphone...
00:12:59 and if you've ever seen a bass drum
swallow a microphone...
00:13:01 it's an ugly, ugly sight!
All this to say that compessors
have become over time
more and more needed
and useful.
00:13:10 Fortunately, every DAW comes with
1, 2, 3, 4 free compressors...
00:13:15 you can even buy more.
00:13:17 And then, hardware units are
more and more affordable and available.
00:13:21 However...
00:13:23 it's not because I got them
that I know how to use them.
00:13:26 So I propose we spend the next
few videos
exploring compressor controls
one by one
to learn to make the settings we'll need
to achieve the sounds we're looking for.
00:13:36 Et voilà!
Once logged in, you will be able to read all the transcripts jump around in the video.
Fab Dupont is an award-winning NYC based record producer, mixing/mastering engineer and co-founder of pureMix.net.
Fab has been playing, writing, producing and mixing music both live and in studios all over the world. He's worked in cities like Paris, Boston, Brussels, Stockholm, London and New York just to name a few.
He has his own studio called FLUX Studios in the East Village of New York City.
Fab has received many accolades around the world, including wins at the Victoires de la Musique, South African Music awards, Pan African Music Awards, US independent music awards. He also has received Latin Grammy nominations and has worked on many Latin Grammy and Grammy-nominated albums.
One of the everyone-should-see-this-clip. Best teacher!
Buddhika
2021 Sep 11
I've tried lot of lessons on the internet.
This is the one I really understood what really compressor is.
THank you..!!! Maestro ..
murray.g
2021 Apr 02
Okay I'm getting it . Thanks
theannemary
2021 Mar 02
This was so helpful, thank you! I'm excited to experiment with compression
keiteljr
2021 Jan 21
Needs some compression on that wild ass hair...he got a diffrent cut in every video lol...legend
Tamko
2020 Nov 01
Fab, you are my favourite mixing teacher. In ideal world I would be happy to work as you assistant for a few years :)
Gerry2020
2020 Oct 01
Fab is a really good teacher. I appreciated very much his explanations. He made me want tp know more. Thank you very much.
ludwigmack
2020 Feb 26
What a great explanation! I loved it, I think I finally understood the real meaning of compression! Thank you!
JPMBass
2019 Nov 27
Just blown away at Fab's introduction to compressors...Fab has many gifts and being an incredible teacher is one of them. Mr. Dupont really breaks down and explains things in such an easy to understand and meaningful way. I'm so glad I've discovered PureMix and will be watching more. THANK YOU!
babu
2019 Jul 18
Very Informative. Great.
msloan
2018 Feb 08
great video and I look forward to the next few videos as well.
gordonliv@uwclub.net
2017 Apr 21
Correct me if I'm wrong, but didn't compression originate in the radio broadcast industry? I thought it was developed to control signal peaks so that the audio content would avoid saturation and interference with adjacent channels. It would also improve signal-to-noise ratio, which in the early days of analogue radio broadcasts would be a huge advantage.
I know that Western Electric and Bell Laboratories built a compressor called the 110-A in about 1937 which was aimed directly at radio stations and broadcasters. Not sure if this was the first actual "compressor".
Fabulous Fab
2016 Jul 05
@RLeMuyon: It never pleases me. I have seen engineers use it to success but every-time I try it myself, it has a glossy, pointy quality to the attack that never works with how I balance in and out mics. But since you asked I'll try again next time.
RLeMunyon
2016 May 26
I'm curious, what is it about putting an RE 20 inside of the kick drum that you don't like?
Thank you!
mikeyed
2016 Mar 25
Great guy's on your video works. Thanks.
ramsyndrome
2016 Jan 12
yes thats the right way to explain it. more power and God Bless You Fab
intrinityrecords@gmail.com
2015 Nov 24
The tape machine brought the bass more forward and the snare, a much more "sharp" attack with some crackle on top.
oldhat
2015 Mar 30
I like the previous suggestion in regards to links that take you to other videos related to same topic. I've been recording since the early 70's and I love your videos. Wish I had them back in the day. I still get excited when I learn new stuff. Thank you Fab.
Devilstrip
2015 Feb 03
Nice to get a straight forward explanation, Thanks much!!!!
jimsngc
2014 Oct 26
Awesome - thank you
rus5
2013 Dec 09
OUTSTANDING !! FINALLY!! Thank You!!
rainbox
2013 Dec 08
Great course and great advices embellished with a little bit of philosophy:
1) "... and if you did not hear the difference, that's ok, press Rewind, play it again, and again, until you hear the difference."
2) "I think it is very important to have a vision of what the sound should be like, before we start fidding with the equipment and let that vision dictate the settings, not the other way around."
3) "Ultimately, it's all about taste, and that's the beauty of the whole thing."
deejaylsk
2013 Oct 24
i love this tutorial
bloozerd
2013 Sep 21
For what it's worth...I think it would be useful to add links to pages like this that forward to the suggested videos...!...That said...It would be cool if there was a link to the compressor setting video that Fab was suggesting at the end of this vid...!!!
wheelpin
2013 Jul 04
Though of course there is no "one size fits all" concept of the employment of audio/recording/mixing gear, I find Fab's "in your face" ;-), straightforward approach, both entertaining and informative.
I have been in this biz for quite some time now, had a tape based analog 24 trk. studio., and now own and operate a pretty comprehensive (IMHO) digital based one, running Logic Pro 9.1.8. I am always trying to better my skills with the entire record/mix process (and, to a much lesser degree mastering).
In my opinion, job well done!
mrsunnycliff
2012 Jul 08
Liked the simplicity of explaining how our sound evolved and the tonal changes equipment/plug-ins play with not only dynamics but character of the source... Amazing to be a FREE video cause I can see the time & effort taken to setup & produce a thoughtful piece -
joesciacca
2012 Jul 05
The truth about compressors is that it doesn't matter what make you use unless you know how to use 'em at at their best. And while some are flexible enough to be used on different kind of source material, some are exceptional at one task. Personally I'm getting more and more into tape emulations. - A matter of taste.
More of these vids, please.
bigbag
2012 Jul 02
cool, ça démistifie pas mal de choses...pour moi !
creaktor
2012 Jun 12
For 15 years I make music and just turned some knows and telling myself I know what I'm doing. Glad it turned out I didn't knew!!!
since I checked this site and subscribed annually, my progress in several easy tips gained.
That being sayed, I hope you Fab, will get more into detail like you say, about all those differences in compressors.
The reason is, there are million different songs out there. Does compressor A meets the best choice to song A or was it better to choose compressor B for song A. Consistancy in this matter thus knowing what to choose seems my failure now-a-days.
cortezthemiller
2012 Mar 26
Fab Dupont!!! Ce type est vraiment genie!!!
SoundReplay
2011 Dec 26
Nice comparison with the Studer!
robbiettf
2011 Dec 22
...since my last post, I purchased the Vocal Compression video and now my question is answered :-)
I would just like to say again what great videos, my mixing has got better and better since finding this website!
robbiettf
2011 Nov 30
Hi Fab
I have purchased a number of DVD's over the years on mixing but I have to say that your video's have given me the most help, they are brilliant...Thank you.
What are your thoughts on automation regarding volume rides on the vocal track as well as compression? There is a particular uk magazine who do a feature on a current commercial track every month and 9 times out of 10, there is lots of automation of volume on a basic vocal track plus 2-3 compressors working their socks off not for any special effect, from you perspective, is it really needed? or needed because of bad recording?
B_P
2011 Oct 21
Fab, I gotta say, you have some great videos! I watch a lot of on-line PT/mixing tutorials and you really go beyond what everyone else is doing. You really break things down and do an excellent job of walking the viewer through concepts.
I look forward to more videos from you!
chimulko
2011 Aug 02
Wow finally a site to learn how this works, thanks for the tips. It's great when someone points you the changes so you can hear it better.
andydub
2011 Aug 01
Excellent video.
Wonder what you think of the Kramer MPX Tape plugin. I just bought it, and really like what it added to a mix. Just a subtle something. I see UA has one too.
111Entertainment
2011 May 24
Excellent video... lots of valuable information.
"Thanks" Fab
"Touch The World"
F.L. Freeman, Audio Engineer/ Mixer
111 Entertainment LLC
islandcode
2011 May 13
thanks for this. excellent approach with the visual approach to sound, not showing the settings and forcing viewers to listen, and just plain awesome production aesthetic.
Oh btw, The Beatles records a lot of people love were compressed going in, and via tape, too. read their engineers books - such as the one by Geoff Emerick.
Tkandrews
2011 May 09
Great video...illuminating and inspiring.Thank you