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You are completely wrong when it comes to attack. Attack is always "instant" and setting it to short or long just changes the time it takes to lower the volume to a certain level. Now, this technical point makes little difference, but "Advanced Compression [...]" it is not.

lots of yapping bro, this video could be 8-10 minutes only

Very helpful to see the step-by-step here. Thanks!

Thank you. Very helpful.

Thank you!

I didn’t get anything out of this

I think it was far too much talking. You didn’t even get down to the production tips until six minutes - I had to leave. Good luck.

Insanely valuable content.

❤obrigado!

Hi, thank you for the great videos!:) But i still have a problem, how do you handle a very large (or multiple) sound sources with two mics? For example when you put two mics in a grand piano for the low and the high registers. In my understanding you would have to shift for the high notes in one direction and for the low notes in the other… how can you handle this?

Can you do a mix for me.

I prefer fast attack and slow release to control the dynamics and reduce volume

Very helpful! Thanks so mucb

Thanks so much. For the video. Very very clear and helpful!

thank you clearly explain

thank you for the explantations

I don’t get it though the way you set it up you still hear all the other stuff in all of the mics you did not cut out the high signal from the low piano or the low from the high piano

boring

Best explanation with pictures of physical nature 😊 thx

5:09 With low threshold on compressor the signal barely gets treated, I assume it's the same for limiters ?

great!

This video is really great! It doesn't seem like your channel is still active, but I hope you read this and know your content is valued, at least by me.

Jake! Hope you're well, these videos stopped 4 years ago. Hopefully life isn't giving you any trouble! Cheers for the information.

Excellent!!! Nice explanation and demonstrations. Thank you.

Congratulations on 200 subs!

thanks for sharing. very helpful

Agree with comment by terrydrums Example here is NOT jazz drums

As far as i understand -> out of phase = out of sync. This is a timing issue you need to flip the phase or edit, move the track or even both ! Soundradix's Auto Align VST takes care of this problem.

Hmmm. End result seems to be to make it sound more like an electric bass! I've been struggling for years with my double bass (with piezo pickup) to do exactly the opposite! IE I sound a lot like your track without any post processing at all. To get the sound I really want I've finally bitten the bullet and ordered a professional double bass microphone at great expense. -Still awaiting delivery.

Great video and very sound & clear "ideology" on solo piano mixing! Thanks a lot for your effort and sharing!

Pretty solid explanation! I think one thing that would make this video even better would be audio examples of phase issues just so I can recognize it by ear now that I know what’s going on conceptually

Slate suscription plans sucks very expensive, plugins are not bad but doesn't worth 150$ year

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i previewed so many vidz bout this topic.. i can surely say this video in the most demystifying and most educational ever.. many thanks

thx

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A polarity flip is indeed the same as a 180 degree phase change of the phasor phase, or initial phase, at all frequencies.

Great video! Thanks for showing the settings of the additions on the vocal track and explaining why you used them.

Thanks for this. I had the idea of using compression to extend some dub delay repeats that were fading out too quickly behind the rest of the music. You've given me a starting point for those settings 👍🏻

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ty, going little by little, it is still hard for a begginer like me

I've "always" known about pre-delay and early reflection (but nicely organized tutorial for anyone unfamiliar btw) but I'm still confused about late reflections. It haunts me every time I see it in some processors like Valhalla. The only way I've come to see it (which I'm fairly sure I got wrong thus asking you in case you know: is if you've just stepped inside a large room, say a gym, the early reflections would be the door and walls right behind you and the late reflections would be the far end walls? But then I'm confused between those far walls, if they're distinct from what I'd call the reverb tail (like your decaying downwards triangle in your image).

So well explained. Thank you

Hi Jake. Thanks for the great video. I am trying editing EXISTING piano, guitar and flute music which I purchased from third parties. My goal is to make this music softER and smoothER, in order to help listeners to fall asleep. Could you please suggest a kind of "universal" plug-ins which would make the above-mentioned instruments sound softer and smoother? I am using Logic Pro X.

This EQ is the heart of Sonimus, plus it's one of the most powerful if properly used tool in their lineup, and it's FREE!

great, succinct video, subbed!

Thank you for this!

Useful video! But…it's rarefaction. Not rarefraction. Otherwise nicely done!

How do you think Phil Spector and others got a sense of depth on the Z-axis? ( or Front to back ) Or at the perceived edge, or “outside”, or at the core of the sound, and usually toward the centre speaker? Because their Pan control was Mid Side, and total utility of Polarity. More subtle use of Phase rotation . controlling the dominance of the mid and side. Where literally getting a Balance would necessitate fully understanding and employment of polarity from the 3:1 Miking rule to the final mix. How do you get a sense of distant dancehalls ringing out with the girls swooning “And then he Kissed Me” way up front. The sense of psychoacoustic depth that we sense in a stereo field is a coupling of the two mono Z axis ie: Spk Front <--- (-) Z (+)--> Rear. Then augmentation of the mix elements to be full cancellation (turned into side) Or perhaps push the EQ’d to more MID (centre image) or HIGH (the sense of vertical height, maybe sense of “AIR” in a mix) It’s just handy to think of in terms of an X,Y, and Z axis. height, width, and depth. But remember, depth and a sense of distance is governed by subtle psychoacoustic principles when done right a the product of the Ensemble and Depth or a sense that something is confronting the listener or ‘ in ones face ’ is principally mastering engineers taking advantage of this very principle.