Tja tja... Var och spana på ett amerikanskt FL forum.. Och jag har alltid haft problem med att få ut det maximala ur compressorn.. 😉 jag hittade detta inlägget och tyckte det var himla användbart om man nu som jag har lite problem med de där... Iaf prova dessa inställningar och glömma inte att ratta lite efter dina egna behov... 🙂
...Lunatik
Compressor
Before beginning, you'll need a large decible meter, preferably with a
digital readout. As a general rule, your mix before mastering should fall
around or below the 0db mark. Leaving a ceiling will allow you to compress
and boost, without having to do too much limiting.
Drums: Perhaps the most important element in a hip-hop track. DJ Premier,
Pete Rock, Alchemist, Havoc, RZA, Marley Marl, Jay Dee, and Timbaland. What
do all these producers have in common? Their thumping drums. Now imagine if
all those beatmakers had used weak drums. Premier's "Come Clean" probably
wouldn't be considered a classic, nor would Pete Rock's "T.R.O.Y".
Compression is very much needed on drums, especially in the hip-hop world.
What exactly does compression do to help? Fatten, thicken, louden, and
sharpen. Deep, rumbly kick drums and sharp, snappy snares. Ah, the wonders
of compression.
Threshold: -10db to -15db
Ratio: 6:1 to 8:1
Attack: 3ms
Release: 10ms
Knee: Hard
Gain: +5db to +7db
---
Percussion: Although not all hip-hop tracks contain, or need percussion, a
lot of the newage pioneer beatmakers are using bongos, congas, triangles,
steel drums, as well as other percussion instruments. Percussion doesn't
require a lot of compression because usually, the percussion track rests
behind the drum track. Bongos, congas, and the likes usually have an
immediate popping sound that doesn't need compressing, so the attack should
be set slower than drums.
Threshold: -3db to -7db
Ratio: 3:1 to 6:1
Attack: 5ms to 7ms
Release: 15ms
Knee: Hard
Gain: +2db to +4db
---
Bass: A common problem with bass is that the low notes seem to disappear
into the mix while the higher notes stick out like a sore thumb. With many
instruments, reverb could solve this problem. However, using reverb on the
bass track usually gives it an undesirable effect. By using compression, you
can bring up the lows, and submerge the higher notes into the mix. Often
times, there is an initial "pluck" to the bass sound, and it can be more
beneficial to let this sound slide through uncompressed.
Threshold: -4db to -9db
Ratio: 4:1 to 8:1
Attack: 3ms (if there is a plucking sound, use an attack closer to 7ms)
Release: 100ms on short bass sounds / 300ms on long bass tones
Knee: Hard
Gain: +2db to +4db
---
Brass / Wind instruments: Brass and wind instruments require a "transparent"
type compression. Any obvious processing can noticably ruin the sound. Brass
and wind instruments have a lot of variety in playing styles. Trumpets can
be played expressivly loud, and a smooth, mellow flute will need much
different processing.
Threshold: -2db to -4db
Ratio: 6:1 (lighter instruments) to 15:1 (deep brassy instruments)
Attack: 3ms (If a transient sound needs through uncompressed, use 6ms)
Release: 300ms
Knee: Hard
Gain: Varies
Guitars: When working with acoustic guitars, compressors tend to reveal
themselves more so it's a good idea to use a very "transparent" compression.
If working with electric guitars, make small increases to the ratio and
threshold.
Threshold: -2db to -3db
Ratio: 3:1 to 4:1
Attack: 3ms (If there is an initial pluck, use 5ms)
Release: 30ms to 60ms
Knee: Soft
Gain: 0db to +1db
---
Samples: If you're a sampled based producer (specifically, phrase sampler),
chances are you don't get to compress several instruments in different ways.
Using the following numbers, you'll be able to smooth out the entire sample
without too much limiting.
Threshold: -2db to -4db (If the sample is recorded bad, and there's lots of
peaks, use a higher threshold around -8db)
Ratio: 2:1 to 3:1
Attack: 2ms
Release: 400ms
Knee: Hard
Gain: +1db to +3db
---
Full Mix: The final mix doesn't require much compression, although some
hip-hop songs have been compressed with up to a 4:1 ratio, most aren't
needed that much. A final compression should act as a limiter, keeping the
signal close to the 0db mark.
Threshold: -4db to -7db
Ratio: 1.5:1 to 2.5:1
Attack: 5ms
Release: 200ms to 500ms
Knee: Hard
Gain : Varies
---
