Top 4 Types Of Audio Compressor Explained
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- Äas pĆidĂĄn 21. 07. 2024
- Knowing how each of the audio compressor types sound is going to help you make quicker decisions when it comes to choosing and using the best compressor for your track. In this video, I explain in simple terms, the differences and applications of the main compressor types used in music production; VCA, FET, Optical and Vari Mu.
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Timestamps:
00:00 - Intro
02:00 - How compression controls dynamic range
02:36 - Audio compression in music production
02:49 - Definition of compression in audio
03:01 - Compression types and acronyms
03:56 - Compressor design types
04:41 - Audio compressor types and applications
04:55 - VCA compression
05:40 - What is a FET compressor?
06:39 - Optical compression
07:34 - What is a vari mu compressor?
08:00 - Non linear compression explained
08:48 - Compressor types and their different parameters
09:47 - Digital compressors vs VCA, FET, Opto, Vari mu
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-- Top 4 Types Of Audio Compressor Explained --
Youâve probably seen terms like VCA, FET, optical and vari mu used a lot in compression tutorials and might be wondering what they all mean and why you should care.
Each audio compressor type available to us as music producers and home studio musicians, as well as controlling the dynamic range, impart their own sonic character to any signal passing through it.
They also handle the incoming signal in different ways depending on which type of electronic component applies the gain reduction inside the box which then impacts the operation and results of these compressors.
Some are faster acting than others, some are cleaner sounding than others and knowing these details will help you make better decisions around choosing a compressor that best matches your mix goals.
Audio compression is a fundamental skill when it comes to music production so mastering the different compressor types is imperative if you want to apply the best compressor for the job.
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Do you think about the type of compressor youâre choosing to use or just slap on your favourite regardless?
For me, it's always a deep, almost spiritual process that usually plays out in the late hours. Deciding between a Blue or a Black 76, that's a day in life well spent!
@@pekkyas Love it!
I'd use the stock abelton in the track if simple generic use, but i enjoy using specific comps on buses like shadow hills green or red, ssl channels, townhouse CLA etc too some various tones or colour subtley and different attacks or some fun with the flood modes etc
Nice!
I don't think about the type of compressors. I just try different compressors and use the one that sounds good to me. The more reason I need this compressor course so I can be more intensional.
Fantastic video Sara! I really enjoyed it!
Thank you so much!
We, in the studio have become obsessed with compressors. I remember reading an article that was written by a famous mixing engineer and he said, in the old days, you didnt worry about what type of compressor you had, you just used what was available, didn't matter, 1176 or a radio shack compressor, you just used it. He said that the biggest worry that the engineer had in those days was getting through the sessions without the tape machine breaking down and not what type of compressor you were using..
This is true!
You have THE KINDEST disposition.
Thank you!
Tank you Sara!
I just love it when someone answers the questions I have before I ask them.
I really enjoy your videos, keep up your great work!
Anders Fennsjö, thank you so much :)
Thank you, Sara, this video was so so helpful for me! Have a beautiful day!
You're so welcome!
Thanks for the insight, Sara. Really appreciate the video.
Youâre welcome âșïž
Excelente video, muy ilustrativo y como deben enseñarse las cosas. Primero lo primero: teorĂa, definiciones y fundamentos. Luego y solo luego, remangarse y ensuciarse las manos con la prĂĄctica pero siempre con conocimiento de causa. Me sumo como suscriptor desde hoy y la felicito oor su canal!
Discovered your channel today. Really enjoy your teaching style. Clear, concise, and great examples. Subscribed!
Awesome, thank you!
Excellent video, Thank you!!
Glad you liked it!
Brilliant tutorial thanks Sara, recently bought Arturia's FX collection and wondered what instances I would use each of the compressors for. This has helped me no end!
Glad it was helpful. There are some typical applications for the different types but no rules. Some are more characterful than others and you might not choose to use those on a mix bus but it depends on the sound you're going for.
You are very good and clear in your description. A great help.
S Eriksson, thanks for watching and for the feedback!
So glad U found you page thank you so much. I'm always looking for better ways to explain concepts to students when I'm teaching basic classes and inevitably I learn more my self lol. Thank you so much.
Youâre welcome!
Your very helpful! Thank you!
Youâre welcome! Glad to help
Great video. Informative and clear presentation. Thanks!
Glad you enjoyed it!
What a great Channel :) keep up the good work!
Kalu Bandali, thank you so much :)
This was brilliant, thank you.
You're very welcome, glad to have helped
Thank you. Enjoyed.
So glad!
very comprehensive and you still kept it short, thank you :-)
Thanks for watching and glad to help!
Very helpful information. Thank you
Jebb., thanks for watching and for the feedback!
Cool demo.
Thanks for watching
hi thanks for the explanation , in the opto comps you mentioned they are slower. could you explain why this rounds off the transients? if its slow the transient should come through making it more aggressive?
†fantastic đâ€
Thanks đ
A couple of things I'd love to know more about is why/when to use compressors in series.The other is when using a drum buss along with various parallel processing, do you still route these all to a master drum buss ?
Thanks for everything you do. I really appreciate your ability to convey everything so clearly.
I think whenever you need to control something with wild dynamics and want it to sit solidly in the mix, like bass or vocals unless you're using parallel compression. The idea is to not have one compressor coping with wild swings in levels and to spread that control out over two compressors. Funny you should ask about the drum buss as I used to route the parallels to the drum master buss but then I realised this can make the snare sound too flat and smacky. I'm changing my template to route the parallels to the mix bus instead.
@@SaraCarterSimplyMixing Thank You so much for your time and advice. If you have Patreon or PayPal Me stuff, I'm glad to donate.You are boosting confidence !
Thanks
Youâre welcome
Love your videos Sara, I share them with clients so when they ask me for a specific feel or sound and they are confused they can learn the language of audio recording. I would love to see what your eq cheat sheet looks like, I signed up never got it. Peace Respect Forward
Thank you for sharing! Email me for your cheat sheet. Sometimes things donât quite work how they should!
@@SaraCarterSimplyMixing I looked for your email without luck, went to the site simply mixing, and was promoted to enter my email for the cheat sheet once more tried that, and nothing... strange. Some kind of glitch. You can send it to disciplebrother@gmail.com if time permits. Would love to see your modeling on eq- fun:O)
@@biggabiggap7305 Hey there, I tried to email you but it got returned. I think there's something wrong at your end!
The Pam Ayres of audio! Good stuff.
Haha! Wrong end of the UK but I get where you're coming from!!
@@SaraCarterSimplyMixing Close enough from Australia :-D (I knew it wasn't exact, but close enough for jokes :-D
đ I used to love Pam Ayers
@@SaraCarterSimplyMixing Same. And I think that's dating ourselves, that admission :-D
@@miccullen yep!
What does it mean for a sound to be âtransient heavyâ?
Sharp, snappy, edgy sounding rather than smooth or round. It's hard to describe sound in words! Haha.