List of RE Compressor Types?
Is there a list of which type of compression each device in Reason uses. Some are obvious (Softtube FET, and I assume Moo Tube is Variable-Mu), and my understanding is that the mixer, being modeled after the SSL, is all VCA. But most of the rest just give vague references to the "vintage" gear they are modeled after, or else they just talk about compression in general, as if there were only one kind.
I'm trying to learn more about compression, and I understand that the different types have different uses. But that knowledge is useless if I don't know what type each one is. Any help is greatly appreciated.
I'm trying to learn more about compression, and I understand that the different types have different uses. But that knowledge is useless if I don't know what type each one is. Any help is greatly appreciated.
I understand that not all software compressors are modeled after vintage gear, but many clearly are. And for the ones that aren't, is there no classification for those? Then for those of us who are still learning, how can we decide when to use which one? If I have to resort to trial and error, then I'll just skip them, which brings me back to my original question.
You should learn to make a decision by ear rather than by specs or marketing blah. I know, its a boring old phrase "by ear", but its the truth. I come more and more to the point, that i just close my eyes and listen. And for compressors, it always depends what you are after, what source you have and problem you want to solve.True wrote: ↑19 May 2020I understand that not all software compressors are modeled after vintage gear, but many clearly are. And for the ones that aren't, is there no classification for those? Then for those of us who are still learning, how can we decide when to use which one? If I have to resort to trial and error, then I'll just skip them, which brings me back to my original question.
Forget compressor models, rather think of "sound". If you want something smooth, glueing everything together, you may need a slower attack and slower reaction to the signal. If you want to tame some peaks, you need faster attack, if you want more sustain, you need longer release and so on...Try to test a compressor on different material and see if it works for you.
And one more thing i noticed in the last years, there is really a lot of hype and bs. You do not need the most expensive compressor and limiter. Often those ppl want to fix their mix, so learn how to mix. Fix the root cause and not the symptoms. I know, i know...old phrases...but somehow the truth...IMO.
Reason12, Win10
I’ve got loads of compressors. I know nothing about compressors. As Loque says above just slam one on and see if it sounds good. I do have to say I do use RE-2A a lot but you don’t need to worry about that because you can’t buy it any more haha .
I use them the same way as I would use an effect or an eq. Try that and see if you get some sounds you like.
I use them the same way as I would use an effect or an eq. Try that and see if you get some sounds you like.
🗲 2ॐ ᛉ
Slate's Academy is currently free and there's a huge and comprehensive class on compressors which is worth the watch.
That's what I'm trying to do, but I don't know what to listen for. So I'm reading as much as I can about the different types. "Oh, this is what faster attack sounds like, this is what a smoother release sounds like, etc." In another thread, Giles mentioned starting with the classic stuff (e.g., VCA on a bus) and learning how that sounds, and growing from there. That certainly seemed like a more concrete path forward that just learning by ear. Some people learn by ear, some don't. Billy Joel learned to play piano by ear; me, I need someone to tell me some things. I'll never be Billy Joel or Tony Maserati or whoever; I'm just trying to learn this stuff.
That's why I'm asking for help. I have spent years trying to listen. I'm not some preteen with a Mac and too much time on my hands. I've been doing audio for 30 years, but I never had access to a lot of gear, so there's still a lot I don't know. I'm also a pretty introspective person; I know what works for me and what doesn't. I didn't just wake up today and decide to become a music producer and figured I'd get a shortcut by asking a question on here. This is something I have been trying to learn, but without some level of guidance I just can't do it. That is one of my limitations.
So again, any help will be appreciated.
I hear you...i still want to >see< what is happening...but from time to time i just close my eyes and listen and that helps a lot.True wrote: ↑19 May 2020That's what I'm trying to do, but I don't know what to listen for. So I'm reading as much as I can about the different types. "Oh, this is what faster attack sounds like, this is what a smoother release sounds like, etc." In another thread, Giles mentioned starting with the classic stuff (e.g., VCA on a bus) and learning how that sounds, and growing from there. That certainly seemed like a more concrete path forward that just learning by ear. Some people learn by ear, some don't. Billy Joel learned to play piano by ear; me, I need someone to tell me some things. I'll never be Billy Joel or Tony Maserati or whoever; I'm just trying to learn this stuff.
That's why I'm asking for help. I have spent years trying to listen. I'm not some preteen with a Mac and too much time on my hands. I've been doing audio for 30 years, but I never had access to a lot of gear, so there's still a lot I don't know. I'm also a pretty introspective person; I know what works for me and what doesn't. I didn't just wake up today and decide to become a music producer and figured I'd get a shortcut by asking a question on here. This is something I have been trying to learn, but without some level of guidance I just can't do it. That is one of my limitations.
So again, any help will be appreciated.
And as everything else in your body, it needs training. Train to hear the difference of different attack times. Drive the compressor hard and experiment. Just use a simple sound, maybe a snare and experiment. Close your eyes and hear how the sound changes.
And there is another rule i learned (from Giles): If you cant hear a difference, you do not need it.
Reason12, Win10
Different types of comps, whether modeled on something real or not, work with different sounds.
It’s a complex effect and it takes more than a while just to be able to hear it, much less to ride the wild beast.
I’ve read interviews with Michael Brauer in TapeOp magazine that helped me a lot.
https://www.mbrauer.com/
https://tapeop.com/
It’s a complex effect and it takes more than a while just to be able to hear it, much less to ride the wild beast.
I’ve read interviews with Michael Brauer in TapeOp magazine that helped me a lot.
https://www.mbrauer.com/
https://tapeop.com/
Who’s using the royal plural now baby? 🧂
isn’t this sort of beside the point? it can be helpful to know whether you want to bother trying a compressor because it’s based on an optical circuit vs 1176-style FET, etc. using your ears is a great determining factor, but you can save yourself some time and narrow the field if you already know what type of compressor you’re looking at and what it’s likely to do.Loque wrote: ↑19 May 2020You should learn to make a decision by ear rather than by specs or marketing blah. I know, its a boring old phrase "by ear", but its the truth. I come more and more to the point, that i just close my eyes and listen. And for compressors, it always depends what you are after, what source you have and problem you want to solve.True wrote: ↑19 May 2020I understand that not all software compressors are modeled after vintage gear, but many clearly are. And for the ones that aren't, is there no classification for those? Then for those of us who are still learning, how can we decide when to use which one? If I have to resort to trial and error, then I'll just skip them, which brings me back to my original question.
Forget compressor models, rather think of "sound". If you want something smooth, glueing everything together, you may need a slower attack and slower reaction to the signal. If you want to tame some peaks, you need faster attack, if you want more sustain, you need longer release and so on...Try to test a compressor on different material and see if it works for you.
And one more thing i noticed in the last years, there is really a lot of hype and bs. You do not need the most expensive compressor and limiter. Often those ppl want to fix their mix, so learn how to mix. Fix the root cause and not the symptoms. I know, i know...old phrases...but somehow the truth...IMO.
anyhoo, this may or may not help: https://www.izotope.com/en/learn/4-type ... world.html
Yea, sure. Thats why i like Fabfilter Pro-C. They named it like it sounds or what they were made for: "Punch", "Pumping", "Vocal" and so on . But nobody limits you to use them therefore...guitfnky wrote: ↑19 May 2020isn’t this sort of beside the point? it can be helpful to know whether you want to bother trying a compressor because it’s based on an optical circuit vs 1176-style FET, etc. using your ears is a great determining factor, but you can save yourself some time and narrow the field if you already know what type of compressor you’re looking at and what it’s likely to do.Loque wrote: ↑19 May 2020
You should learn to make a decision by ear rather than by specs or marketing blah. I know, its a boring old phrase "by ear", but its the truth. I come more and more to the point, that i just close my eyes and listen. And for compressors, it always depends what you are after, what source you have and problem you want to solve.
Forget compressor models, rather think of "sound". If you want something smooth, glueing everything together, you may need a slower attack and slower reaction to the signal. If you want to tame some peaks, you need faster attack, if you want more sustain, you need longer release and so on...Try to test a compressor on different material and see if it works for you.
And one more thing i noticed in the last years, there is really a lot of hype and bs. You do not need the most expensive compressor and limiter. Often those ppl want to fix their mix, so learn how to mix. Fix the root cause and not the symptoms. I know, i know...old phrases...but somehow the truth...IMO.
anyhoo, this may or may not help: https://www.izotope.com/en/learn/4-type ... world.html
Reason12, Win10
yeah, that’s a good sort of shorthand to go off of. more companies should do that. although “vocal” as a compression character doesn’t make much sense to me —the others do.Loque wrote: ↑19 May 2020Yea, sure. Thats why i like Fabfilter Pro-C. They named it like it sounds or what they were made for: "Punch", "Pumping", "Vocal" and so on . But nobody limits you to use them therefore...guitfnky wrote: ↑19 May 2020
isn’t this sort of beside the point? it can be helpful to know whether you want to bother trying a compressor because it’s based on an optical circuit vs 1176-style FET, etc. using your ears is a great determining factor, but you can save yourself some time and narrow the field if you already know what type of compressor you’re looking at and what it’s likely to do.
anyhoo, this may or may not help: https://www.izotope.com/en/learn/4-type ... world.html
They also have some types like "Master". I guess its obviously for what they are optimized
Reason12, Win10
Ultimately it isn't really a type of sound persay but it's functionality. And determining what to use is really about trial and error. mostly the controls are all very similar. Some differences being attack times and specifics like gentle compression like the Master Bus.
But before all this it's important to know how to dial in your compressor. You want the level of the output from your compressor, ie after compression, to match the volume level of your clean signal. This is important so you don't get any unwanted volume bumps after a comps release BUT more importantly matching levels allows you to actually accurately hear what the comp is doing compared to your input clean signal. This is more important than thinking what and where to use compression because if you're not hearing it in context with the clean signal then you don't really know for Sure what the comp is going to behave. Knowing when to use compression will then start to make sense because now you're hearing more accurately
But before all this it's important to know how to dial in your compressor. You want the level of the output from your compressor, ie after compression, to match the volume level of your clean signal. This is important so you don't get any unwanted volume bumps after a comps release BUT more importantly matching levels allows you to actually accurately hear what the comp is doing compared to your input clean signal. This is more important than thinking what and where to use compression because if you're not hearing it in context with the clean signal then you don't really know for Sure what the comp is going to behave. Knowing when to use compression will then start to make sense because now you're hearing more accurately
Grab a trial of FabFilter. Their compressor has various different types, but more importantly shows you what is going very clearly. People love regurgitating the whole 'you should do everything by ear thing', which is obviously true, but when you're learning good visual feedback is really helpful.
https://www.fabfilter.com/products/pro- ... or-plug-in
Of course there are plenty of other ways to learn, but I found this really helped me understand the effect of different params. Also check out their guides to compression on YouTube. Some of the best content you will find.
https://www.fabfilter.com/products/pro- ... or-plug-in
Of course there are plenty of other ways to learn, but I found this really helped me understand the effect of different params. Also check out their guides to compression on YouTube. Some of the best content you will find.
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