Its always been my main problem. i find it hard to spot the differences betwen different compressors. for example: 1176, ssl, l2a and so. i have vsts by waves that emulates them. and ive also read lot of info about them. but i want to actually feel the difference. i was wondering if one has sone suggestion for this.. i tried before putting all of them on a track, but i find it hard to spot the differences..
learning differences between compressors
- Thread starter aviel
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pikachu69
mixomatic 2000
There is no easy way here I am afraid and you wont like the answer. Practice.
You will only learn and hear the subtle differences by using them over and over again for a very long time. To start with you wont hear a difference, then one day you just will. In the future the differences will seem night and day.
To start with try extreme settings to over do the results on purpose and see if you can hear what it is doing then slowly work towards gentle settings.
Not all compressors impart a colour on the sound, like opto compression so use a comp known for its colour.
Hope this helps.
You will only learn and hear the subtle differences by using them over and over again for a very long time. To start with you wont hear a difference, then one day you just will. In the future the differences will seem night and day.
To start with try extreme settings to over do the results on purpose and see if you can hear what it is doing then slowly work towards gentle settings.
Not all compressors impart a colour on the sound, like opto compression so use a comp known for its colour.
Hope this helps.
well it does motivates me. i was afraid sometjing is wrong in my ears.. what compressors do differ most noticebly from each other?
Nimvi
Member
I swear, everytime I am interested in a specific subject, a thread about it pops up here the next day...freaky!
I have been experimenting with the new Klanghelm dc8c yesterday (which is an AMAZING software comp imo), and it covers a lot of ground, going from very fast and snappy to round and smooth, from coloured to transparent. I've also acquired Ermin's book a few days ago, and in parts of the book, he mentions what type of compressor oftentimes works well for him on certain sources.
Because I don't own a few of those types of compressors, I have been trying to emulate what they do roughly with the Klanghelm, so I have gathered some info and listened to examples to find out what is typical about them.
Take it with a grain of salt, because like said, I don't all of these compressortypes. I'm basing some of the info on audiofiles and descriptions I've come across.
From what I have gathered, these are some of the more obvious differences between VCA, FET and Opto:
VCA: Typically can go from very fast/snappy/tight to smooth. Usually clean/low distortion (eventough you can force it to mutilate the signal). I've seen this type mentioned a few times as a "usable for everything, but better for some specific things that need fast action". Probably a good choice for catching fast transients.
FET: Also fast and snappy, but with more colouration. Oftentimes driven to high gainreduction for its pleasing distortion. Ermin describes it in his book as "Round and fat". The 1176 you mention is a good example of this.
Opto: Usually very smooth and gentle on the signal. Eventough not colouring, it imparts a certain vibe. Generally has a soft-knee behaviour. With some exceptions, they are seen as slower than their counterparts. Not necessarily because of their attackspeed, but because of their inherent smooth gain reduction curve. I think it was Bob Katz that called its response "sluggish". This style of compressor is very popular for vocals, where you might not want the compressor to clamp down too obviously.
Well, there's the result from my research last night. I would have loved to post some of the soundsamples I've heard, because they make these things much clearer, but none of them are owned by me. Just look for shoot-outs or comparissons between the more famous designs though, and try to listen for some of those things I've mentioned, and it will probably become obvious to you.
I have been experimenting with the new Klanghelm dc8c yesterday (which is an AMAZING software comp imo), and it covers a lot of ground, going from very fast and snappy to round and smooth, from coloured to transparent. I've also acquired Ermin's book a few days ago, and in parts of the book, he mentions what type of compressor oftentimes works well for him on certain sources.
Because I don't own a few of those types of compressors, I have been trying to emulate what they do roughly with the Klanghelm, so I have gathered some info and listened to examples to find out what is typical about them.
Take it with a grain of salt, because like said, I don't all of these compressortypes. I'm basing some of the info on audiofiles and descriptions I've come across.
From what I have gathered, these are some of the more obvious differences between VCA, FET and Opto:
VCA: Typically can go from very fast/snappy/tight to smooth. Usually clean/low distortion (eventough you can force it to mutilate the signal). I've seen this type mentioned a few times as a "usable for everything, but better for some specific things that need fast action". Probably a good choice for catching fast transients.
FET: Also fast and snappy, but with more colouration. Oftentimes driven to high gainreduction for its pleasing distortion. Ermin describes it in his book as "Round and fat". The 1176 you mention is a good example of this.
Opto: Usually very smooth and gentle on the signal. Eventough not colouring, it imparts a certain vibe. Generally has a soft-knee behaviour. With some exceptions, they are seen as slower than their counterparts. Not necessarily because of their attackspeed, but because of their inherent smooth gain reduction curve. I think it was Bob Katz that called its response "sluggish". This style of compressor is very popular for vocals, where you might not want the compressor to clamp down too obviously.
Well, there's the result from my research last night. I would have loved to post some of the soundsamples I've heard, because they make these things much clearer, but none of them are owned by me. Just look for shoot-outs or comparissons between the more famous designs though, and try to listen for some of those things I've mentioned, and it will probably become obvious to you.
this is EXACTLY what happened to me. As I became more and more fimiliar with and hearing about the different topologies (FET, Opto, Var-MU, VCA, etc.) for some reason of another, one day I was just able to really UNDERSTAND and HEAR the differences and in which case WHICH topology might be better over another for certain instruments or tracks.
And this was just within the last YEAR.....
Just keep going at it me and don't kill your brain over it. Let it one day just wash over you, hahaha.
Kohugaly
Member
- Oct 15, 2011
- 258
- 0
- 16
Happens to me all the time :-D
Yes... the difference between compressors is sometimes hard to notice, but by time you'll see they do their job different way. IMO most obvious is the difference between opto and VCA. Metaphorically (and very subjectively) Opto-compressors remind me a slime or gel, that prevents big movement (of volume), but lets fast strikes trough. And VCA is more like a pillow or bumper capable of doing exact opposite (when desired).
It's really a question of impression. Sometimes you put a compressor on a track, it does its job well, but you feel something isn't right (like when you taste already sightly yellow cucumber). Then you put on different compressor and magic happens
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