Thank you all for your help.. I will continue to try!

 

be sure to set the controls to 11 if possible, that should fix itl

 

Yep, if you set the threshold to +11, the problem is solved.

 

Gain staging is to audio engineering as location is to real estate.

 

Yes, the problem is me! I'm young and inexperienced, I have to practice..
Thank you all for your help!i'll keep you posted on the progress..

 

No worries. It took me many years to fully understand the many different compression types, expander/gate, transient designers, etc and their many uses.
Keep us posted and ask questions if you run into problems.

 

delete me

 

if you want to preserve the peaks you need to raise the attack time.

 

Attack time is ok.. The problem is slow release! (first example)
I'm trying with different settings and sounds but the result does not change.. the release is never fast enough not to lower the fastest peaks.. (sorry my English)

 

In this test I raised the threshold and a less aggressive compression..
the result is much better .. however the reduction of the peaks is still there..

 

Homework...

https://www.uaudio.com/blog/audio-compression-basics/

https://reverb.com/news/reverbs-guide-to-audio-compressor-types

 

If your problem is the release isn't fast enough, then you need to know the range of the release on this compressor and determine if its the correct processor for this source material. Hence you were suggested using a compressor with release times 200ms and below.

From the MANUAL...

• The Attack knob determines how fast compression will kick in, ranging from 0.005 ms (very fast) to 250 ms (very slow). For transient-rich program material like drums, fast attack times are needed to minimize overshoot. For other program material, too short attack times may dull the sound or introduce audible distortion. FabFilter Pro-C 2 is capable of very fast attack times and they are program dependent.

• The Release knob sets the time that the compressor takes to recover from gain reduction. The various compression characteristics of Pro-C 2 use different release models, and in most cases, the release time is very program dependent. This means that Pro-C 2 recovers very quickly from compression after a transient, and quite slowly after longer periods of gain reduction. Note: When Auto Release is used, the Release knob will adjust the overall effect of the auto release feature on the release time.

• The Auto Release button (the AUTO label next to RELEASE) enables a smart auto release feature. When enabled, the compressor adjusts the release time depending on the current amount of gain reduction, so this actually introduces an additional form of program dependency. When Auto Release is used, the Release knob will adjust the overall effect of the auto release feature on the release time.

• The Lookahead slider sets how much advance time Pro-C 2 will use to anticipate peaks in the audio signal. Using a bit of lookahead can help to preserve transients and results in much more transparent gain reduction. Because lookahead causes additional latency, it can be globally enabled or disabled in the bottom bar.

• The Hold slider sets the time with which peaks in gain reduction will be prolonged. Applying a bit of hold time can help increase the transparency of gain reduction. With longer hold times, you can achieve nice pumping effects.

https://www.fabfilter.com/help/ffproc2-manual.pdf

 

OCD Thank you I really appreciate your help
ps. Homework has already begun since last month:

 

A compressor reacts to the sound source. If the sound source has a long tail, it doesn't matter how fast release you set as it will still be triggered. That is why many people send "ghost kicks" to the sidechain/key input (or any "ghost sound", that is short in length. Some even use white noise bursts). That way they can dial in the release setting much more precise.
That is why I said "use side-chain highpass filter" if you were using a kick as a trigger. A kick can have a really long tail, ringing out in the low-end. If you highpass it, you will get a much shorter triggering sound. Hence the release will be faster, if you set the release to very fast.
Edit: It's also related to threshold. The lower you set your threshold, the more (i.e., longer) it will trigger.

 

Last edited: May 5, 2018

Duh, why didn't I think if that?

 

IDK. Maybe you didn't read the first reply in this thread.
Edit: Oh, wait. You clicked like on that post, so I guess we met halfway.

 

This is very important for you to understand. You are using the same sound source that you are playing (a kick) to trigger the compressor. and your problem is like this:


The compressor is doing always the same. The red curve is always the same. But you came to a point, when you trigger the compressor with your sound source so fast, that the curve doesn't have time to reach the upper line. You can go UP with the threshold (as @No Avenger said) until it touches the 0 line.

The other solution - that @Baxter explained above - is to change the sound source that triggers the compressor. With C2 you can do it in a very simple way. Open the SIDE CHAIN, go to the first point of the filter and press the button I am holding the mouse on:


Voila, compressor goes all the way up - same kick, same parameters. I just did what Baxter said - cut the lower frequencies of the trigger (put a highpass filter on the kick as a trigger):

Hope this helps, don't worry about your English. I struggle with it too, lol. I can write in other 4 languages ..badly. Rusty Italian too. (Vedo che hai degli appunti e Win in italiano). But sadly, I don't have the knowledge of Baxter or No Avenger as far as sound engineering goes ;D

Edit: now that I'm reading this thread from the beginning I see, there was the sound sample (..everybody talking about kicks here ;). The above still applies, but in your case you should use an external sound as a source to trigger the compressor properly.. If you need info how to do it in C2, no problem.

 

Last edited: May 5, 2018

Same happened to me. He thought it was broken...

 

It's true.. in this test I shortened this part of a vocal:
And the result is a faster recovery of the release in the shorter vocal (see the orange line)

 

He wants to play god, thats whats up.