Discussion in 'Bass' started by audiorep2, Nov 23, 2019.
Or if you are squashing the shit out of your signal.
Then you get the character of the circuit which is easy to confuse with compression because it's a form of limiting. Guitar compressors would be easier to understand if they had gain reduction meters.
Biggest problem for me is I just can't perceive the subtle nuances in music post production. It's not poor hearing, it's being raised on shitty restaurant jukeboxes and crappy home hi-fi. I learned to hear what I want to hear and disregard the rest. I will have to leave the fine tuning to the experts.
The OP is looking for a specific sound. How can he get that? Maybe has nothing to do with compression...
Percussive notes: transient enhancer = compressor with medium to slow release, fast to medium attack but not to slow that it doesn't compress the body of the note, just a few MS to let the transient go through unaltered, and a fairly high amount of GR and output to unity. The release time is tricky, it has to be long enough so the compressor remains active for as long as every note is playing but it can't be too long that it is still compressing when the next note kicks in, that's why is often called recovery time. I do that with several compressors (sometimes limiters but for other reason), here's are some examples in a mix context and using multiband but the theory is the same and can be applied to the guitar, you just need a good compressor with attack, release controls, I think the blue pedal from boss will do it:
Agreed. There are a few that have GR meters though.
Even a dimming led is a great improvement, it shows how much each note is compressed
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