Get the full featured compressor you were looking for, even with an analyze capability to do what was needed in this video.

thanks for watching! have seen a fair few of your vids too and appreciate your work!

YES

I agree to for the most part but good mixing and production play their part too. I think the point of this video is that you don't need to pay large sums of money on your gear and you certainly don't need to keep buying the latest whatever.

💯

Just invest in hardware. You need a good mic and guitar with a good interface to record and oh don't forget the pc or better still just a mixer. That should do it.

I think the truest wisdom is that producing, engineering, songwriting, and arranging are all art forms in their own way. The best results will always come from a team of experts. I produce and mix all my own stuff and I see exactly where I could do more if I had the time.

Good luck with your efforts! If you are looking for inspiration I recommend watching a couple of Dan Worrall's latest videos when he talks about suggestions for the compressors (mix knobs, ratios, etc.).

He was specifically referring to analog emulation compressors, which also tend to model the harmonic distortion / saturation stages of their analog counterparts. Matching the gain reduction for one static signal is one thing, but recreating the "box tone" of the device is an entirely different endeavour!

sure you can do whatever you want. my plug has no rms or impulse based stuff. it's literally just a straight peak comp. i'm just modifying the gain reduction curvature mathematically. im not trying to clone, just achieve the same attack character and those 3 modifiers (convexity, inertia and feedback) get me pretty close to all the classic types

@@APMastering If after matching those curves you try a null test it will probably show that there is something more going on.

@@danivalles7638 100%, stay tuned for the next video (3 parts)

whats the chance of getting the CompView as an AU?

I can compile that for you now. check the google drive link in half hour

done it. Should be there now. send me an email if its not working for you

Quickly becoming my favorite audio engineering KZfaqr next to Dan.

bro your so talented 🤟👿​@@APMastering

yeah most of that is addressable with side chain EQ and preemphasis

@@APMastering I mean sure there's always 10 different ways to skin a rabbit, but instead of jury-rigging a hammer, sometimes it's faster, better and easier to just use a hammer isn't it?

@@iwiggs6870 sometimes it is. sometimes you don't need a hammer.

OTT, is that you?

@@APMastering with this logic, you don't need a single plugin, why not write vst's in c++, but wait you don't need c++ because you already have assembly language, so why not use that !

thanks for the advice. i guess i should also do biased product reviews for stuff in my affiliate stores and cash a 6% commission on every sale of a $10k shadow hills unit. i do sell courses but i'm extremely transparent and up front about that

People do worse for happiness ..like marriage etc 😂

Money? do vsts cost... real money? 😮

@@Zer0Spinn Digital facsimiles of real gear (VSTs) can be bought with digital money (credit cards) Q. What is real money?

@@mark-yj5sg real money is tangible commodities like gold, wheat and real estate.

addressed in post 2

*part

@@APMastering okay but please don't tell us that you gonna use external saturator to imitate what analog compressor does

Why? Dan Worrall isn’t selling you these plug-ins, the manufacturers are and it’s for them to convince you to buy it. If you don't trust what he's sying then continue spending your money and move on.

@@errmable You assumed a bit too much out of thin air. I was curious on Dan's opinion about a) if really the curve is the only important part of a compressor or these emulations have some non-linearity in them that would mean, say, different level of harmonics appearing at different levels and b) if it is really cannot be null-tested (or nullish test it, when the difference is inaudible or doesn't matter in a mix) and c) he usually is quite skeptic with plugins, and what is his opinion on this plugin, d) he usually has great suggestions regarding UI functions.

​@@errmable It's not disrespectful to want to hear other experts chime in on the guys methodology. He even sounds like the type who'd welcome having his work put to the test of peer review. It's part and parcel to the scientific method, after all!

​​@@errmableOh give it a rest you attention seeker

FWIW i'd love dan to peer review this. to be clear, i don't think my plug is the best comp on the planet, i'm just a dude who spent a few days writing a plug, a mature software company could take my ideas and make a better plug in every imaginable way. also, i'm deliberately excluding the saturation discussion, that's the elephant in the room but i'll address it in my next video

i will discuss this stuff in my follow up video. it's a 3 part series

I agree 😊

Tim Petherick in the house!

Do not watch his part 3, this is a scam

1176 and la2a have drastically different envelopes

That would be true if you are talking about the actual analog hardware. The plugins are however, just digital gain reduction envelopes with pictures.

@@millenniummastering most hardware compressor are also changing frequencies, just like the dbx 160, I love for its transient work in the highs. I also never received any good distortion with compressor plugins...

The glue compressor is also pretty good and easy to use

@@JJaxxon I said compressors because I meant all 3 - Compressor, Glue and Multiband :) They are extremely good, and I am waiting for 12.1 release (not beta), to get my hands on updated limiter.

@@DmitryPuffin didnt read that well

what if you are comparing digital pianos and you have knobs that vary piano size, upright, grand, wood density, % open etc

@@APMastering yes of course. It was more a metaphor than a measurement. I choose a certain compressor over another because I prefer the results I get.

​@@psychesonic1but if you can get the same results with a free one, why is somebody charging 500 dollars for another

@@gigglthewiggl because its not exactly the same and this guy is quite simply full of shit

​@@APMastering have you ever been serious about buying a nice digital piano? They all sound 100% different. As do these compressors.

its all I use and all I need lol

Funny you say that. I thought maybe cause I’ve used it before all these modelled plugins came out. After trying and loving so many new ones I can’t help but revert back to logic compressor to get the job done. I use the first setting that comes up, adjust to task, done. And it does sound better than many others.

Same but with Maximus or OTT

@@onteraction8294 exactly

9 times out of 10 - same here

and NASA is a scam too (Operation Paperclip)! But seriously, I actually kind of agree with you but I think hardware offers some benefits in certain situations... extreme example... I want my guitars, guitar amps and pedals to all be hardware. No software guitars for me! In terms of analogue hardware EQ sounding better than stock plugins... hmmm. I still love working with analogue EQ. But I think you are probably right. I'll get on the case at some point and do THE HARDWARE SCAM ha ha

@@APMastering I think your videos really prove what we like about plugins and hardware. We like the curves, we like the non linearities whether they are genuine or not. We like the character. Can we do this with stock plugins? Perhaps with a lot of work, and time, or just get the plugin and use it. I think your titles are clickbaity, and these plugins are not a SCAM as you say. It just proves with enough time, and effort, we can get the same sound from tools we already have. But this is like building a house with a hammer, nails, and a hand saw. You can build a house with those tools, but a nail gun, table saw, etc can get it done faster and easier.

@@APMastering About the guitars... Why can't you simulate a guitar amp, pedal, etc with stock plugins from Reaper or Fabfilter Total Bundle? Maybe guitar amps, pedals are scams too?

don't want to be a smart arse at all but i actually love framing and carpentry and one of my favourite framers who passed away but has great instructions videos which you can find on yt always used to use a hammer to frame houses. watching him work was something else. but point taken and i agree to a certain extent but in the case of my eq videos for example, i can dial in the sound i want in 2 seconds and using the modelling plugs takes much longer so i'm actually wasting my time with the so called time saving plugins

Some hardware is scam (the one that uses cheap circuitboards and generic components) and sells it at inflated prices. But actual analog hardware built with quality components is not a scam. It's certainly overpriced as well, but not a scam. The interaction of real life physical components is really impossible to recreate in every nuance algorithmically.

This, I was really wondering about harmonic content because that's what a lot of companies are selling their plugins with

This is where phase cancellation would show the differences.

⁠@@Lilly24244Exactly

Get plugin dr and have a look for yourself.

you can see harmonic distortion in plugin doctor very well. from my perspective, distortion is an separate bundled feature. I would rather apply distortion to my taste in a dedicated plug rather than simply being subjected to unspecified mystery distortion with zero control

i couldn't come up with a better word. something like "illusion of magical sound character which doesn't really exist". do you have a suggestion for a better word? RE nulls, i'm assuming you didn't watch my third vid with the more exhaustive methodology where i discuss JND?

@@APMastering Smoke and mirrors? I agree "scam" sounds a bit clickbait (although it's what KZfaq wants you to do).

Thank you so very much for what you said, because that was exactly my thought that you posted… I have several friends in the industry who purchase various compression plug-ins more so for the character they part and not to get any sort of specialized compression curve.

@@APMastering no I will check that out, thanks!

I agree scam is a bit clickbait. I was sitting there with chatgpt asking it for better words and I was getting con, swindle, hoax, deception, rip-off, scheme etc. Like I literally couldn't find anything that fit better and anyway, I'm not trying to intentionally make my videos less sensational. I'm looking for a bit of entertainment value as the majority of audio content is kind of dry and boring.

although you are right to a certain extent with some of the other stuff you mentioned, a dynamics processor by definition should not significantly affect the tonal balance of a source. i also personally feel that a compressor should also not additionally increase thd outside of its inherent internodulation distortion, as that is literally unrelated additional unspecified mystery bundle feature code, which id prefer to have control of myself. so i personally consider such non linearities to be a moot point

@APMastering You can't impart certain nonlinearities in certain ways, especially harmonic distortion, body vs peak, and the transients, without a compressor. You don't always want to separate the two. Take something that is tonally and percussively rich as a rap vocal, that choice of how a compressor saturates and handles the transients is the whole shabang. Also, some of the most famous hardware compressors, like the SSL, has a frequency dependant bias. I definitely know where you are coming from, but sometimes you gotta cook in the sauce, not just use it as a topping after you grill.

ha ha, I like the analogy. in terms of frequency bias, you can do this by merely EQing your side chain signal. in terms of the kind of distortion you describe, I would be interested in investigating the exact kind of thing you are talking about and then ABX testing it

​@APMastering some recipes are for the talk show, some you keep in the family cookbook...

reacomp is good, transparent, I use it for side chaining

a lot of Reaper stock plugins are really good. Just dont have a fancy GUI. A bit like AirWindows that makes plugins that are very impressive and way beyond many expensive plugins.

Not speaking for him, but I believe the point he’s trying to make is that one free compressor can do the work of many many expensive plug ins, which are artificially limited in their range and scope to appeal to familiarity and also brand loyalty. The same can be said about a lot of instruments frankly. Bottom line here is that all he’s gotta do is add some preset capabilities to his free plug in and you’d basically have every compressor plugin on the market with just a click for the price of free 99.

i do and don't agree. i agree IF you aren't intimately familiar with a "benchmark" compressor and can dial in any vibe in 2 seconds, and as there aren't that many benchmark style compressor plugs, that can't really be expected, but given such a benchmark, everything would be possible quickly with a single plug

@@APMastering I love the discussion and I’m certainly all ears when it comes to trimming up my plugin manager. Lol. Certainly this topic would be very helpful for the young ones starting to record on their own. I already have some regrets in terms of duplication with functionality in my compressors folder.

@@marksaxon simplify your decision process by only keeping the 5-6 that you use frequently and remove the others.

@@atilavictorio I'm basically heading in that direction. Every week I slowly look at the my plugin manager and weed out the ones that I haven't opened in 6 months. Maybe not delete but remove them from my favorite folders. As a fun exercise, I went through my compressor fav folder and picked out 8 that are must haves but then it left about 20 others off the list. Lol.

its a conscious decision to exclude saturation and i'll discuss that in a follow up. in terms of release, release time is exceptionally important but release CURVATURE is much less sexy than the attack curvature which is why i didn't focus on it. it's a short form youtube video and the first of a couple i planned, ill start to expand the topic in future videos

yeah just random eq and small gain boosts to fool the user

to do a LUT compressor? that would be wild.

@@APMastering are you getting my emails?

I dont disagree with you. but im hardly going to sit there in the studio and first match my plugin to another one and then use it. the point is, if you become proficient at using a single full featured compressor, you can dial in any tone you want in 2 seconds and having a bunch of different plugins with severely limited parameter ranges is a hinderance

​@@APMastering Right it's really important to know your gear, you can absolutely use sort of all-around single eq and a single all-around compressor, dial in your curves and make a record with it, that's really boring though and I bet the record will be boring too, If the point of the video was to learn your plugins better instead of always buying the next new thing, that's a great message right we all need that reminder, but compressors from various manufacturers definitely don't sound the same, I really did liked your video and your ideas that's why I'm commenting, obviously you put a lot of time into making it, no one just uses compressors only for the curves though, literally for anyone try and use as many weird compressors you can get your hands on and see what it does for you, my mixes have gotten significantly better when I bought the, on this topic "high-end" compressors not only because of the sound but also for the confidence it gave me to use the gear, it's not only about a curve but saturation and distortion of the compressors cleverly used to get a killer mix, cheers 🫡

isn't he also the guy with the sausage mic?

ha ha thanks. i am impartial but i do have a product to sell... my educational courses. they are there and people can buy them or not but yeah i have no bias to sell snake oil through affiliate links

Yeah this guy is seriously talented

enjoy the haircut while it lasts! Part ii will feature a new hair character... warmer, more assertive, engaging, clear, open, transparent, exceptionally clean with a sparkle imparting an air of fairy dust.

in terms of hardware vs software, guitars are the most extreme example. no matter how good the Japanese make high end realistic dolls, I will chose my wife every time ha ha.

be sure to watch part 2 though, this is only the first part and is oversimplified

@@APMastering I did, actually before making the comment! You're right, the issue of how compressors deal with different frequency ranges is very hard to quantify. It could be argued that's what gives them their "character". The reason this will be essential to showing my students is so that I can help them understand the underlying principles of compression.

nice one 😎

Well I have a part 2 coming in a couple of days in which I mention vari mu and zener diode typologies (I'm a big TG1 fan). I've never had the pleasure of working with an original Fairchild but I've worked with a lot of the familiar gear. Some of the plugins are pretty good. UAD isn't too shabby. But my point isn't that my analyser and comp faithfully emulate every single compressor under the moon perfectly. Should be a lot more clear by the end of part 2 why my videos aren't simply clickbait. This first one was just the warm up. If I have one single hour long video, it will get no views.

that's actually a good idea. I could imagine a monitor scam, there is genuine content there. There is also some interesting stuff with the transducers used in dynamic mics and I have recorded some real nice music with some super cheap mics but ultimately a U87 is a good mic. My father is a drum maker, specialising in snares and so I know a thing or two about bearing edges, plies, hoops, wires... A well tuned cheap snare that has freshly sanded and shaped bearing edges sounds WAY better than a poorly tuned expensive drum. The last point about ears is just bullshit, if you've watched my content you'll know that this is antithetical to my message.

@@APMasteringWhat a wonderful reply! :)

search "Tested: Where Does The Tone Come From In A Microphone" it's basically just the capsule. he also did one for amps and cabs and electric guitar. basically everything is hype lol

@@APMastering I’m very curious to see your loudspeakers and monitors debunking video. As a man who calculated, evaluated different design options and built couple of pairs, for me it will be very interesting to see your observations and discoveries :)

@@APMastering as a drum maker and drummer for 45 years I would love a snare comparison ;-).. but off course you need to compare well tuned with well tuned. That said the snare has great importance in a drum recording. Probably the biggest in the kit. And even minute details will change the feel of the drummer and how he is inspired to play. Although the real difference is very small it does change some details that might just be what you need in the mix. Also good snare respond well to EQ and compressors. Price is rarely the reason if a snare is good. Its all about tuning, heads, response from the wires, the room but MOSTLY the drummer. I have snare ranging from 50$ to 1500$ and I use them all without looking at the price tag. Same with plugins. I dont look at what it says it can do, the price or the GUI. I look at my work flow. Which one gets me the result I want the easiest and fastest. I dont care if its actually just doing gain reduction or saturation or what have we. Also the sound like a snare drum inspires me to take sometimes more interesting decisions. But I am sceptic about expensive plugins as they in 90% of the cases are not worth the money.

nice! i've got some interesting projects planned, i'm going to make a "vibe console" at some point and do videos on how to make it. i'm planning to offer PCBs and assembled but i think i'll take a while to get around to it

ha ha. maybe not but it was fun to develop

stay tuned for part 2, will explain this!

with EQ, you are pretty much wrong, you can convincingly phase cancel pretty much any EQ because of the physical reality of what EQ does, especially IIR designs. With compressors, you are right that some companies put the work in. Despite me thinking UAD are for the most part overpriced fancy interfaces, they do actually have very clever code under the hood. Keep your eyes peel for part 2 in a couple of days!

i'm not interested in saturation since if i wanted distortion i'd add it as a discrete process. i understand many other people want that and that's fine but i'd rather control it myself

@@APMastering That's fair. But your claim (as I understood it) was based on the premise that analog modelling compressors are a scam, since they can easily be replicated with generic "benchmark compressors" like Pro-C or your AP Comp. Yet, you only prove that the gain reduction curve can be approximated with generic tools, while failing to prove that the other main component of analog emulations can be reproduced: the non-linear, state-variable saturation behaviour!

sure. the way I see it, a compressor does gain reduction. if it happens to have additional bundled unspecified mystery distortion, that's maybe something other people care about but I'd rather not have that at all and control it from a separate plugin, or have knobs for that saturation so it is overt and no longer mysterious and untweakable. Now, I COULD add more features like saturation and then we'd have an improved general benchmark compressor where we can model saturation of other units but ive got to draw the line somewhere, I can't put my day job aside for a year to make a free plugin

@@APMastering I'm not referring to your plugin, but to your claim. Your fail to prove the point that analog emulation compressors are obsolete. Instead of replicating their sound, you only replicate (not even accurately in some instances) one aspect of their sound: their gain reduction curve. You fail to prove that you can also easily replicate the rest of the equation, the harmonic distortion. Without replicating saturation / harmonic distortion, you are missing a crucial aspect of what makes an analog emulation an analog emulation. So you should rather say: "I can match the gain reduction curve of analog emulation compressors" as opposed to "I can replicate the sound of analog emulations". You don't replicate their sound, you are only approximating one aspect of the sound. So you only finished 50% of your assignment.

@@whawha9016dude it's a youtube video i can't do everything. if you want to pay me a million dollars to spend a year developing the greatest compressor of all time, with 100 knobs that nobody is able to use, i'll take you up on that. otherwise, that's all i've got for this video 😂

I literally get hundreds of comments on my videos and so although right now I'm still attempting to reply to most of them, I can't reply in extreme detail and thoughtfulness to every comment. Either I give you a quick reply or I don't reply at all. I dont know what it is you talked about before but I am not wrong about EQ. if you fail an ABX test, I dont care whatever else you say, that's all that matters.

@@APMastering in case of waves pultec we found that null test results not the complete silence, cancelled only around 36 db, while there -37 db left still what scientifically this doesn’t means the both signals are equal. Also I want to point on analysis tools you use. What averaging is been applied when you compare graphs? There is also the precision aspect. Bevause distribution of amplitude values are not allways gaussian, it can have two most frequent or more values. This called multimodal distribution of magnitude per frequency. What for human hearing is more significant. See distribution types, and regular arithmetic averaging in case of multimodal distribution will give not very precise value. That’s why I’m saying your claims are not very correct. No doubts that filter itself can’t have “sound “. Two eq filters with the same filter type will affect the signal equally. But you have very strong claims that analog modeling is a scam, while there in these plugins are more than just filters, like in pultec eq, there’s a tube simulation which adds harmonics.

i think specifically chosen plugs are the way to go. some people download 1000 cracked plugs and then have everything but don't know how to use anything

ha ha, i welcome all feedback even from my harshest critics

bear in mind, back on the day, most medium and small studios just had a few compressors and that's it. nobody but the most high end studios had fairchilds and 1176s and neve whatever coming out of their ears. and the best records were still made

@@APMastering yeah, of course and that's OK. At the end all we want is good sounding songs not good sounding sound. :) I just disagree with your statement that all compressors are the same. They all have similar main purpose but they are different and you confirmed it in the video by developing ultra flexible tool first for measure and second for tweaking :) Your video proves that you can use one tool instead of many. But not proves that all tools (different compresors) do the same thing or sound the same. You have clearly showed the measures of how every compressor types behaves. There are a slope, which shows how different compressors behaves during specific time period. There are different curves, and that shows that during specific time period different compressors reacts differently and that means sound will be different from one to another that's obvious. I'd love to have ability to tweak one compressor and go with the sound I want, but for sure I'm on lower level of experience :) Making music, tweaking knobs is fun. At the end joy is what we want from that. Personally I find to be fun look at nice looking interface of some kind hardware emulation I can't afford. It is not my job so I don't need to spend ridiculous amount of money for hardware. Imaging that I have some kind of that studio feeling in my monitor gives me some kind of happiness. I think it matters more than another $ spend for plugins :) I appreciate your point of view and your will to share your thoughts with people. Have a good day.

but I didn't say all compressors are the same, Im talking in the video about how they are different in terms of features, time constants etc and finding a benchmark is so hard. I say at the start that they all do one thing (gain reduction). That gain reduction can be quantified and we can theoretically match it.

ha ha, that's kind of the opposite of my intentions here

@@APMastering give them away for free then?

@@APMastering hahah i mean im not like a major capitalist but you already made this video and the plugin for free so ya know, good on ya!

@@m.o.n.d.e.g.r.e.e.ndon't get me wrong, i don't have a problem selling stuff, i sell courses, but the point of the compressor was to be an advanced plug. if you add presets then you bypass the skill required and in that case i'd make a different kind of interface with simpler controls

it would be like AmpliTube for Compressors :)

the goal here is not to match stuff in practice but to demonstrate that one free plug can get close

😁

😂😂😂

i agree with most of what you wrote and my video is oversimplifying but i will add more nuance in future videos

i sell courses but that makes me impartial because i'm not biased to sell through affiliate links

Im not sure you watched the vid. I spend a lot of it talking about feature richness of different compressors.

then why not just use a distortion plugin? The LA2A for example has two knobs, one is overdrive gain, the other is compression. Just use an overdrive. I show exactly this in part 2.

@@APMastering I do. But compressors gives me extra flavours. They have their own sound.

100% agree. The whole scam thing was because people were asking me to do the EQ scam thing with compressors, so I did it, but I dont really think there is a "scam" as such.

sounds like you missed the 3rd video in my 3 part series on EQ. also, this is the first of another 3 part series and some of the things you mention are literally in the second video, so you might be jumping the gun a bit. I didn't plan to use REW, I have a waterfall in my next vid, but I might consider using REW. Haven't used it probably for 10 years. However, a waterfall also cannot adequately represent what is happening with a comp because it lacks a 4th dimension. Depending on which factors are important to the enquiry, even a 5th dimension may be necessary

@@APMastering I did watch part 3, but I had hoped that you would either figure it out pr stop milking the clickbait. This video is why I finally responded. Firstly, why would you even use a waterfall? I was specifically calling out THD/Harmonics, which REW has some great tools to measure. Otherwise you could just use an oscilloscope. The point is that you aren’t actually measuring like an engineer, you are measuring what you think makes sense based on the fact that you are a user. This isn’t bad per se (most of us who are engineers are such because we would love to be able to use the product to the same level as you), but you aren’t actually measuring the things that make different hardware and software special. The reason why I suggested REW is that it is the poor man’s AP machine, if you ignore the things that are for room measurement (which is effectively useless for these kinds of measurements). That said, even just pushing the plugins using an oscilloscope and RTA and looking at changes to the waveform/even and odd order harmonics/etc would be light years better than just saying “eq/compressor make same”, and then giving out a plugin like it’s actually useful instead of confirming the least interesting behaviors of a piece of software. Also, for what it’s worth, I am an engineer. I mainly work in hardware and embedded. I have worked for plugin makers in the past, however I haven’t done so for about 15 years. Also you haven’t called out any plugin makers that I have friends at, so basically I don’t have a vested interested aside from a real dislike of misinformation.

The biggest troll of his videos is that he doesn't play music based audio through the different plugins. Just test signals... And he tells us to not be tricked by the look of things while just using graphs LOL😂 I give him a lot of credit he knows how to bring in the views and get engagement however disingenuous he may be. Then again ignorance is bliss so... I do look forward to more of the videos though, because saving people time and money is a good thing. And maybe it will help people appreciate the software they already purchased instead of trying to get the next big thing and expect to have their music played on Saturday night live like Taylor Swift does.

@@RealHomeRecording the saddest part is that if he actually tested properly then test tones would work

"This new cut is called THE SLAP"

part 2 contains a new hairstyle, it's more transparent, lush, warm, open, engaging and assertive

cool. if there's demand i'll compile my plug for linux too

@@APMastering Would be cool as heck if you did, but it likely runs just fine in WINE via Yabridge.

i will do hardware at some point but most of my hardware is weird bespoke stuff so id need to literally go out and buy stuff

stay tuned for part ii

yeah just use a distortion plug. that's all it is mostly but just bundled in a hard coded way

exactly but it is a bit more complicated than that and I will reveal all in part 2, will upload I think tomorrow :-)

i'm not sure why it's any slower using my compressor. you can just turn the threshold knob down

@@APMastering Yes, but what happens when you turn the threshold down is dependent on all the other controls. A “flavour” of compression is defined by the whole range of all the controls a particular compressor gives you. I’m certain you can, as you’ve demonstrated, achieve pretty much any type of compression with your compressor, and while that’s certainly an valuable tool to have in the toolkit, I turn to different compressors, and enjoy having a wide variety at my disposal because the UI and parameter sets of those compressors are often dialled into a particular style of compression. The UI and range of every control is part of the type of sound thats easy to get with a particular compressor.

just don't touch the other knobs. there you go. same as a plugin with one knob

@@APMastering I don't think you are engaging in my comments in good faith, you seem to be ignoring most of what I'm sayin. I don't WANT a one knob compressor, and I'm acknowledging the value of the compressor that you've built, but I think different compressors with different controls and parameter ranges are useful and valuable.

sure. its a workflow thing. I will discuss workflow in the next instalments of this series

keep your eyes peeled for part 2 in a few days

@@APMastering My eyes are peeled...

@@WisdomHouseCreative CAPS for sore eyes

i didn't say all compressors sound the same

@@APMastering So where is the Scam ? I recently tried the 3 versions of UAD LA-2A for a drum group, each one is so different for example. A simple case is the Logicpro comp, switching between diff versions with the same settings …

agree. stay tuned for part 2

to be honest, im not very experienced with it. it seems theoretically like a cool idea and is probably great but i think 96k pcm is already better than the human ear can perceive.

this is very cool but not exactly the same thing as im talking about in the video

this

i love guitar pedals but there's a lot of crap because it's probably the lowest barrier to entry in the world of electronics

did you watch part 2?

I used to have a VLA2. It's a nice comp

i like TDR too

thanks, I've already had a couple of developers show some interest, let's see what happens! 😀

they are slightly quieter files where I take more care with phase and resonances ready for vinyl manufacturing. I dont actually cut vinyl myself because that would be a negative cash flow operation but I work closely with a few studios that do.

@@APMastering thanks for letting me know! im not familiar with vinyl technology, so could you please do a video on mastering for vinyl, showing us stuff we need to take care of?

@@LeChapeauMusic i discuss in my mastering course. i feel like this is a tiny bit niche seeing as a professional mastering engineer would take care of this and its not really the right thing to mess about with if you want a decent 1:1 cut. there's probably way more benefit in improving mixdowns generally than learning more advanced niche mastering stuff but yeah i do discuss it in my course

@@APMastering okay!

CMT. some dude made a plugin to measure his analogue compressors. i'm stealing his idea but making it higher res

@@APMastering thank you

Yes... you can do all sorts of things. You can EQ the side chain or do preemphasis EQ. You can trigger dub delay and Bob Marley samples if the detector circuit identifies reggae. If you can code, or build circuits, and have an imagination, you can do anything you want.