The movement of that fader has a shape that can either destroy your groove, be sort of transparent, or enhance it. Think of a compressor as a volume fader that is being adjusted very rapidly over time. Something to keep in mind is that the groove as a whole is more important than punch as a single factor of groove.
You have to listen carefully while you are setting each one to find the balance you are seeking while emphasizing the groove. There isn't a magic setting in any compressor for reducing transients and retaining punch. There is no punch without transients and so in order to retain a sense of punch you need to very carefully adjust the attack and release so that they groove with your track. Yes, if you are just trying to tame the transients a fast attack and fast release with the threshold (and knee) set so only the transients are crossing it is what you are looking for but this will invariably reduce your punch as well.
This also makes it so you have to do less compression on things to make room for other things since everything is happening where it is suppose to and so everything falls more neatly into place.
This will tighten up and reinforce your groove considerably while making it much easier to dial in the qualities you are looking for with your compressors. Strums and instrument sustains can be tempo synced as well. I wouldn't even bother with compression until you have these set right. If you are applying any sort of lfo shaping to your individual drums for instance, the sustains and so forth need to be tempo synced. Here you are focusing on the groove, and the breathing will come naturally with that.Īnother thing that helps immensely is to make sure all your delays and all the times in your reverbs are tempo synced, even down to your pre-delays. More compelling results will be obtained by working with this when adjusting the attack, release, and mix level of your single band compressors prior to hitting the mix bus. When you toggle the bypass button on the compressor, if your mix is flat and sterile it should suddenly start to breathe and come to life become more 3d and organic. Set the threshold on the mids so there is no gain reduction. My heavy-handed and overly simply example for what breathing starts to sound like (giving no thought to groove-grab and release-for this example) is to take a slow ballad, stick a multiband compressor with 4 bands just before the limiter, set the crossovers at 90hz, 2400hz and 9k, keep gains at 0, and then set the thresholds of the lows, highs, and ultra highs so that you are getting less than a dB of gain reduction. He goes over drum treatment a great deal. Then for techniques I would start by doing a search for "Into the Lair #1" on YouTube and work your way through Pensado's series. Movement is the bigger picture and what you want to have a keen sense of when you are working with your compressors and limiters. Pay special attention to when he is talking about movement because it is movement that breathes life into your mix, transforming it from something sterile and obviously mixed in the box into a living, breathing, grooving entity. You are more likely wanting to use a compressor.įor help on what to listen for when adjusting the knobs on your compressor I would watch all 6 Kush UBK videos, even the ones not on compression.
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