Mathematic approach for Compressor settings (?)

[Plendakor]

.

 

[hurdy]

Could help you get closer to the ballpark but you should really be using your ears as certain compressors react differently at the same attack/release settings

 

[SethTheGreat]

Keep in mind that the 3 ms that you're setting for attack aren't coming in to play at the beginning of the "pink part." The 3 ms starts counting the moment the audio crosses whatever threshold you've set.


More like where I've inserted the little white arrow.

 

[Nimvi]

Does it sound best at that setting?

 

[greyskull]

I find myself compressing for tone as much as level flattening so couldn't give a rats arse how many MS I use attack and release

 

[Sloan]

IF
sounds good
THEN
do it

 

[beyond dead]

As a genral rule of thumb I make my release as quick as possible on kick drums. I move the release dial back until I hear distortion from the release letting go too quick, and then I back off until the distortion disappears, and PRESTO you have your optimal release setting. Make sure you do this during the busiest section.

 

[beyond dead]

Use your ears. You should be able to hear when the release is too long/short.

 

[Terminus]

 

[hurdy]

I even set my BPMs (fine-tune) according to the main key a song use (BPm in phase with the Hz of a given note).

Say what?! What the fuck? Why do you calculate every little thing... Do you really think top producers and engineers do this?? uke:

 

[MattGrave]

But does that tempo sound good for the song? The fundamental of the note that the key is in is not the only thing you are recording! There's so many overtones and harmonics that every instrument would produce, for every note in a part that are far louder than your "perfect" tempo syncing with a fundamental!

Surely the groove matters more?

There's also no need to swear at people who are disagreeing with you. And also, it's probably best to take into consideration how top engineers/producers do things, they're at the top for a reason.

 

[MattGrave]

It's not about "cookie cutter" it's about focusing on the more important details. I engineered a session for a producer who insisted on placing microphones at a measured length depending on the fundamental note for the key of the song. Turned out mics placed a metre away from the guitar cab arent that great...

By working purely mathematically you are missing out on the emotional connection to the groove of the song. I dig the attack/release thing on compressors tho, as that helps provide a starting point for not stepping on the groove.

 

[SoundsLikeFog]

I believe this must be just about the gheyest thing I've read from the Internet.

 

[tempe]

I believe this must be just about the gheyest thing I've read from the Internet.

Pretty much.

 

[MotherEel]

To use your maths, wouldn't it make more sense to cut the release off by that 3ms?

 

[MattGrave]

I believe this must be just about the gheyest thing I've read from the Internet.

The thread or my post?

 

[SoundsLikeFog]

I was talking about the OP.

 

[Mashreef]

@Plendakor..
maybe you should be a math teacher... and teach me sometime
cause i fail on it in every damn exam

 

[Fox Mulder]

Yup, use your ears!
I find that implementing a release value that's proportional to the tempo(s) can really make stuff sound a bit "musical".

 

[SoundsLikeFog]

soundlikeafag talked

Hoho. Classy.

You've asked for opinnions on your approach. And I gave mine. And I wasn't even trying to be harsh. The whole synopsis is so fuck'd up beyond repair that it leaves me breathless.

This thread and the reasoning behind in represents everything that is so horribly wrong in the industry right now.