9/6/2023 0 Comments Mix bus processing chain![]() ![]() Patch the EQ into the compressor, and now the compressor will respond to the signal much more consistently. Patch in a parametric EQ, set it to a narrow bandwidth (say 1/4 or 1/8 an octave), set the frequency to 65Hz, and cut by 6dB or so. ![]() What you have to do is bring down that loud ass damn resonant C using an EQ first, and THEN run the signal through a compressor. And if you set the threshold higher to not hit the C that hard, then the compressor does next to nothing on all the other notes. And then the compressor smashes the crap out of things because that one note is so much louder than every other. You put a compressor on it, drop the threshold down, get a nice bit of click to bring out the attack, and it evens the dude’s playing out until he hits that damn resonant C. When he plays it sounds like a a a a g# g# g# e e C C C C a a a. You’re in the studio, recording a bass player, and his C on the 3rd string 3rd fret is really loud for some reason-crappy bass, neck resonances, crappy bass player with crappy technique, etc. So, when you’re tracking, you probably want the compressor first. With the EQ after the compressor, you can adjust for the changes in frequency response caused by the compressor. Mash something pretty hard with a compressor and you’ll lose some high and low end typically, but even patching a signal through an 1176 that’s in bypass will do something to the sound. Usually the compressor first will even the sound out, fix a few issues, and the net result is less need for equalization.ģ) Because you can compensate for the frequency response of the compressorĬompressors tend to change the frequency response of the signal a bit. The same goes for guitars, vocals, bass, etc. If it still isn’t what you’re looking for, then you can throw an EQ on after the compressor, and fart around a bit until you have the sound you’re looking for. ![]() or your can run the kick through a compressor (might we recommend the Korneff Audio Pawn Shop Comp for this.) and get the attack and thud, and some added punch, just by setting the compressor right. Yes, you could sweep around with two bands of EQ and dial in some attack and thud. It’s missing that “cut." The kick’s transient has a lot of frequency content, much of it happening somewhere in the upper midrange anywhere from 2kHz to 8khz, and the thud - that “dead body falling off a balcony onto a carpet” sound is down in anywhere from 50Hz to 150Hz. Let’s say you’re working on a kick drum, and sound is missing some attack and thud. And then you can screw around with the EQ all you want and you won’t have to touch the compressor.Ģ) Compressors can lessen the need for EQ With the compressor first in the signal flow, you set its threshold and whatever other controls the compressor might have, and you leave it alone basically. If you are constantly tweaking an EQ, you'll be constantly adjusting the compressor threshold to compensate. If you put the EQ before the compressor, then whenever you adjust the gain of a particular band of the EQ, it results in a change in the output of the EQ, which means more or less signal feeds into the compressor, and that will affect the threshold setting. But a compressor’s main adjustment is threshold, and input gain will always effect the threshold settings. More gain feeding into an EQ doesn’t affect the way its knobs work. If the compressor is first, when you change its controls, it won’t affect the settings of the EQ much if at all. ![]()
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