But check out this example. . And if your input level is 5dB you have exceeded the threshold by 20dB which means the signal will be reduced by 2dB. Unlike some modeling, where the contribution of every knob on the front panel is rendered faithfully, the Logic Compressor maintains the same set of controls for all models. So with a 10:1 ratio, if your input level is -5dB you have exceeded the threshold by 10dB which means the signal will be reduced by 1dB. Every other parameter makes such a big difference in sound. By using the above combinations of Attack, Release and Ratio and adjusting the Threshold to suit, Logic Pro's Compressor can be used to get some of that famous 'glue' effect on drum buses or whole mixes.
These are based on the electronics that different compressor types use to perform gain reduction. I've looped up 1 bar so it's the same phrase being sent into the compressor over and over. If you set it to 10, the compressor will start working 10 dB below your threshold level. Signals that exceed a given threshold are attenuated at an amount defined by the ratio. You can double-click the meter to open Compressor.
This technique allows you to maintain the clarity of the drums while adding a bit of bite and aggression. When your signal hits the threshold, the compressor starts compressing right away. Sometimes names in the Inserts give a clue, but 'Knee'? By Stephen Bennett The different circuit types available in Logic's Compressor are well worth a closer look — but what are they based on, and what do they actually do? The result is softer and more musical, with the room tone nicely accentuated. The compression is efficient, but unmusical. Adjust the threshold until you are applying around 10dB of compression Audio Example 2.
You often read about engineers applying compression to try and achieve an aggressive and upfront vocal sound. Click the Auto button to let the compressor choose the release time. The other two are in terms of time. Namely the amount of original signal you send to the effect, where the threshold is set, i. Please do note that I'm not saying the setting is useless, it's just another tool, one that I chose not to spend too much time with, most probably because I don't really have any use for it - doesn't mean it's the same for everybody else! Click-hold that and select Electric Bass. Your results will vary according to the frequency content of the individual elements of the drum loop.
Also its worth bearing in mind that some compressors have different amounts of knee adjustment for instance. So an Attack time is really a speed: the gain change speed, to be accurate. In fact, even when I increase the ratio to 30:1, the fader still shows a -16dB on the output level. I have been seeing people use the compressor, and saying they want a super fast attack, and then they leave the knee on full. I guess it works differently in Logic's compressor of course, than other brands. Now switch the meter section to Graph.
Open a new audio track and turn your monitor or headphone output right down. We can reduce the harshness by changing the Attack to 80ms and the Release time to 20ms. Low values compress harder, and higher values compress softer. The noise gate enables you to remove unwanted room noise, such as amp hump. It still shows a peak level of -16dB. If your ratio is 10:1 that means that for every 10dB the signal exceeds the threshold, the signal will be reduced by 1dB. Apply subtle transparent compression or push it hard to introduce sizzling overdrive that sounds amazing on bass, drums, and guitars.
We cover all these subjects in our: So with these things in mind, we really have a lot of control over sidechain effects and after a bit of practice we can achieve some great sounds that can be used to create strong changes in dynamics or help certain elements cut through your mix. However, its real magic shines when loaded on bus tracks, especially the master bus. I stumbled upon this bundle while checking out information for Logic Pro X and thought this can't be real, it must be trial versions or something. There are times on some vocal material when a hard knee can be very distracting, but that same distraction can work for you an a particular snare hit for example. It can help to smooth out vocals, guitars and other inputs that tend to have uneven volumes throughout the performance. Play your vocal track through the Compressor and tweak the threshold so you are applying around 15dB of compression.
I have to think over this. The knee will come in handy because if the compressor kicks in too fast you'll lose all attack. Eventually, Apple addressed this in the 10. Try comparing and contrasting both the styles and types of compressor. Think of it this way… With a ratio of X:1, when ever the threshold is exceeded by X amount, 1 dB of signal will be allowed to pass above the threshold value. While you are applying the distortion try switching through the different algorithms to give yourself an idea of their tonal qualities. There are many types of dynamic control, include limiting, multiband compression, de-essing, gating, envelope shaping, side chaining, and parallel compression.
On the Compressor click the Side Chain button to reveal its parameters, go to the Filter section and click on the Listen button; you are now listening to just the Side Chain signal path. His ingenious optical compression design was a technological breakthrough, far surpassing the stability and transparency of earlier circuits. You can set Compressor to react to the dynamics in another track in the project. The 1176 also has a very distinctive sound even when it is not compressing because of its unique circuitry. I would definitely recommend using it carefully and judiciously. Though blander in character, Platinum Digital is a precision tool with plenty of transparency. Some run audio through the 1176 with the compression turned off, just for the desirable tone it imparts.