Edible Music helps you through the complete home music studio process with lessons teaching you sound creation and sample selection, composition, production, mixing music, and mastering, all the way to releasing your songs of any genre.
Offering mixing tutorials and home music studio tips that you need--plus a few wild experiments--the purpose of Edible Music is to give your songs the groove, power, and emotion they deserve.
Very good question, thank you for asking! In this case, no, they won't--these broad EQ filters are meant to shape the tone of the bass to where it balances right within the rest of the mix, and then the compressor is meant to lock that tone into place
GREAT question, thank you for asking it! The fundamental frequency for a kick drum is usually between 40-75 Hz (sometimes up to 90 or 100 depending on the drum). If you sweep an EQ filter that's shaped like the one I boosted, starting from the higher area ~75 Hz and moving gradually downward to lower frequencies, you'll find a point that has a much more focused "thud" compared to the frequencies surrounding it. If that thud doesn't come forward, you might just need to boost that EQ filter a bit more and repeat--but it's there!
It might be the instrument--but one thing you might try is to lower the clip gain of just those single notes that are very loud, to try and bring them to the same volume as the surrounding notes
Thanks for getting in touch! A couple ways you could check--if you've just opened up the EQ with no adjustments yet and the meter on the top right of the plug-in stays lower than 0, then the level is in a good place. Otherwise, you could add your DAW's stock utility/gain plug-in before the EQ to bring the input level down or up if needed
That's okay! Thank you for wondering. 1176 compressors have a quirk where the attack/release settings are opposite to other compressors. Usually, compressors are faster to the left and slower to the right. But 1176 compressor attack/release times are faster towards the right and slower towards the left
i've been searching for sample room sound video for some time and suddenly it appeared on my youtube home page. really cool approach for imitating real life reflections of room!
It is my understanding that when using the internal sidechain, the whole signal still gets compressed. The internal sidechain only affects what triggers the compressor.
I haven't tried it out for that use case myself--but I expect it would be useful! In this video, I was surprised at how much the tone had changed with the plugin yet it still sounded clean. I think to get the overdubs to sit right it would be worth a try
@@makeediblemusic Do you think you have to get technical with the plugin like you did, or just use universal and learn over the loudest part of the song is okay?
5:45 the way I understand it is the knee gets sharper at higher ratios. Btw attack time typically ranges from 20 to 800 microseconds, the "slowest" attack is under one millisecond! Atb
GREAT question--place it first, or perhaps second if you need an initial EQ to filter out some frequencies that aren't helping the sound: areas like deep low-end rumble, or noises that aren't part of the music
@@makeediblemusic actually the principal of compression stages in a production. I always hear in professional tracks a lot of pressure and cohesion. Maybe it's because the groups and parallel processing of groups...it can't be done with one compressor that's for sure.
You're definitely on the right track when thinking about group- and parallel processing. And those are in addition to individual channel processing, plus compression and limiting during the mastering stage. It's compression galore, though they're applied differently at each stage
Good advice! You're right that's often a useful area to emphasize the clicky beater--in this case, I think the kick was mic'd outside of the drum, so it was too far away to capture that attack (partly why the hi-hat bleed got in there as well). But as you said, if those kick drum frequencies are present, then finding an area to boost makes a great difference. Thank you!
Great breakdown and demonstration. I've been at this a loooong time. Compression is still the biggest mystery, and the hardest concept to grasp. The line between enhancing and ruining a sound is so subjective, I often find myself second guessing my decisions. Thanks.
I understand that so well--compression can feel very slippery and difficult to control. I think it's the way that all the parameters depend on each other, but also that there are so many ways to use it! Once the intricacies start to become clearer, it becomes a super useful tool for mixing
Thanks for posting! SSL bus compressors and their emulations (both hardware and software) are ubiquitous for sure. The addition of high-pass sidechain filters on some emulations increases their usefulness. I never had any use for the fade in/out feature. DAW automation makes it irrelevant in my opinion.
You have done an excellent video on the subject here. Great and very clear explanation, suitable for anyone who might be new to this principle as well. I would advice also to listen to the video on a pair of good studio headphones, to make sure to notice the subtle but very audible differences.
