Hello

I'm a bit confused with compressors.
I have the waves plugins and LPX stock plugins for that.
I use the waves SSL 4000 in mastering, but I don't know really which should I use for the rest, guitars, drums, vocal.
Which compressor you use for these tracks?
I see, that waves has realesed the dbx160, and LPX has also realesed the some new dbx160 (there is now 3 dbx160 compresor), maybe one of these?
What is your suggestion?

 

I have a dream

I hope that one day all this frenzy compression/maximization/squashing delirious ends. and that day, we will all return to listen to the music.

free at last

 

What sound good on that track, in that song, in that mix.

Reading your question I would also say, the first one that you find, for now doesn't matter too much which one tbh.

LPX have a good built-in compressor, why not that?

 

Take the time and get tp know the basics of compression and limiting.

Bus compressors are typically used at 2:1 and 4:1 ratio to help incoming audio to sit still or, be controlled if slightly overbearing (a.k.a glue).
Compression should not be used to try and correct bad microphone placement as an example.

For your mix master, you need as much transparency as possible. You don't want to hear the compressor working hard. Just gluing things together.

Mixing for club/house, radio, tv, CD, on-line, etc... all require different techniques for a final product.

Mastering is a completely different approach as related to mixing.

There loads of books and videos covering these subjects. Some are available from DAW and plugin developer web sites at no cost.
also check out Dave Pensado on youtube. He mixies in Protools but his methods can be used in any DAW for the most part.

 

Open a compressor from LPX.
Load an instrument specific preset (like a lead guitar).
Check the kind of compressor used (VCA, opto, etc).
Repeat.

Forget about Waves or any other new releases. You want to use the latest trend but don't know what it is... and that sounds dumb.

Stick to LPX.
Learn it inside out.
Once you'll know about the basics (not in a week or a month...), expand your toolbox.

Use your brain.
Good luck.

 

Although all people have said is true, it helps the poster little to make educated choices and hence learn about compression. I was planning on explaining the different circuit "emulations" of the stock LPX compressor, but I found a site that says it all:

http://www.askaudiomag.com/articles/exploring-logic-pro-xs-compressor-circuit-types

It is clear and to the point about the "kinds" of compressors within Logic's built-in comp.

My 2 cents: Stir away from Waves or any other plug-in compressor. The stock compressor within logic does it all. When you learn it inside out, you'll. Be able to pick any other compressor and use it to your advantage.

Best of luck.

 

yep!.. logics is excellent!
'erbody know dat! (well, now 'erbody duz!)

 

Before choosing a compressor you should ask yourself "why am I using a compressor on this track? Do I need one? To do what?"

It is not with what you use the compressor but why that determines the comp. choice and settings.

 

Hi, sorry for my bad english
Wich compressor in which tracks??
As you know, is not a compressor for a instrument specifically.
But every compressor has its characteristics.
You got to experiment and use all and learn how they act.

For example,
the waves CLA-76, you got the Blue and the Black
use in the same bass drum or voice, compress only 3 db
you can notice than the Blue print more MIds in the track
and the Black is a darker sound.

So when you want more Mids in any instrument in your mix, you choose the CLA-76 because its timbre

Another thing is the time of act of each compressor,
for example the Kramer PIE versus the SSL
how they act with the first peak of the sound and how decay
So, if you want a peaky snare choose the SSL, if want a crushed snare choose the PIE

these are only a few examples,
the important thing is to experiment with all your compressor in the same track and know your tools.
After that you will know when to choose a compressor for the needs of your tracks.

I like the 1176 for percussion and drums and dont cut my transients (is a very fast compressor)
If a want some presence, the Puigchild.
For bassy sounds and longer decays, LA2A.
PIE for destroy the transients and make it fatter.
C6 for sidechain the bass with the kick.
But you know, it is not the bible, each project is different, but I know the colors and the curves of each plugin.


Another thing I can recomend to you is not to use only a compressor for a duty
when you squeeze to much a track sounds a bit nasty, reducing 20 db
but if you reduce a little with one compresor and then reduce a little too with another compressor after the first compressor
it will sound more natural.
Combine your compressor and leave half duty for each one and listen the difference when you change the order (which one first?...)

And the last thing is parallel compresion.
You duplicate a track and compress the hell of it, then balance the 2 faders, clean and compressed. Still got the high freq. from your clean track
but got a thick mid range when you summ the compressed track.
Combining a filtered parallel compressed track, you got a powerful EQ.

So, practice hard, and know your tools first. Press in the "?" symbol of the plug and read the manuals.


I hope this helps.

h.