Best analogy I’ve ever heard was: Think of a compressor like your bedroom stereo when you were a teen. The attack is how quickly you turn the volume down when your mom busts in yelling at you, the ratio is the amount that you turn it down, and the release is how quickly you turn it back up when she leaves
What I did before I could hear comprehension was: I’d just slam it. Then from there, I’d dial in the attack and release till it sounded right. Then I’d back off the threshold and ratio (if there) till that sounded right. course I had to readjust it here and there.. though more often than not it worked.
Best compression tip I can give is don't be afraid to get creative. While some things can be considered general rules as far as how to treat certain types of music or whatever, sometimes things just sound good. I've had slower or softer songs where I compress the mix aggressively with fast settings as if it were extreme metal, and it just worked out better than what one would typically think to do. No concrete rules in this game
Have you been doing okay Miami? It’s been a while since I’ve seen a JST vid and it seems like you’re a little “mellow” compared to older vids that were a lot higher energy. Not saying this as a criticism or anything, just hoping all is well! ❤
It's miliseconds timing with the BPM of the Track... Using many variations of these mathematical instances is incredible for dynamics. For example 175bpm... 342ms is ONE BEAT. 171 is half a beat. 85ms is a quarter of a beat. 42.5ms is an eigth etc etc... So for attack you can use 22ms, 42ms, or 84ms... And for Release you can use, 84ms, 168ms or 342ms. Do you understand the formula? Now stack several Compressors and Parallel mix them, using this formula in several variations on each band with multiband... The result is several rippling waves of breathing dynamics throughout the Track in mathematical unison and sync that create a vibration of grooves and rhythms that bring the Track to life in ways you never thought were ever possible with just hit and miss guess work with Compressors.
Thanks Miami, for spitting that gospel. By the way the downsizing was a brilliant move. Why pay for something that not being totally maximized to the fullest. No place like home if that's where you move your setup. But at the same time you can still turn out professional shit right from the crib. I purchased the Billy Decker master. though it have only country and rock settings it actually works with whatever genre you're working on. as you mentioned you have to go by feel and damn it's like magic. I say it all the time people are sleeping on JST products which are some of the best in the convoluted world of plugins. Soon as I get a little more loot I'll be exploring a few more. I'll have to see which plugins have a trial because a lot of your plugins don't have a trial.
i went with B too, C felt like nothing happened, A felt like my mixes and i don't like those the day after ,thank you! i now understand partly why i suck!
Example B - it feels like it has a nice snap/click to it and I felt the groove. With Example A, it felt like the transient was mushy and Example C had a weaker feel to it after hearing Example B.
Bro!!! So hype to see you settled in the new space! By the way, you seem happier, at least in the video. You just seem more energetic and relaxed. Hope it's true!
The final example (gain reduction plugin) was lame because there was a huge rise in volume. Are you really trying to get viewers interested in your plugins with this trick?
Sometimes part of the effect or mixing move that you want to impart on a signal involves increasing gain at the same time. Gain matching every single decision is like calculating every single calorie vs steps you’re going to take in a given day, 2000 times a day. It doesn’t make sense.