Thank you Ed, much appreciated. I still think I can improve, but that's for another video.

Hi Raoul, thank you, I'm glad it was helpful!

Thanks so much Michael, I'll pass your compliment on to Suzi :)

Cheers John :)

Cheers Vatche! Yes, it's very nice - subtle, but nice.

Not a bad reason :) Thanks man!

I could use such a tool for my ADHD, but I don't think one exists ;-)

I most definitely can hear the difference.

And yes the more analog you can have is the better....

Yes it's very hard to learn how to hear compression. Usually I always feel like it brings some frequencies that weren't present before. As you mentioned, it sounds warmer. I also feel, as Mike explained, in the Vocals is rounded out some of the voice frequencies, made them mode even and more in tune with the song if that makes sense

Absolutely working on that, thank you!

@@CreativeSauce sweet! Well, I'll be subscribing then!

Wish they would do a CL1B

Hi James, it was applied to individual tracks. I would recommend this compressor for a whole mix.

@@CreativeSauce thanks Mike

Impossible question. It depends on the dynamic range. If you've got huge diffence inquiet and loud parts, the pofessional thing to do would be to go thrugh and draw the larger gain changes in by hand to level them out - then use a compressor so it doesn't ahve to work as hard.

@@MOSMASTERING I get that, but generally, once it's in a range, you aim to peak at 3dB or 5dB of reduction, for example.

@@jeffvox ​ @Jeff Thompson Sorry - but like I said, this is unanswerable. Anybody that gives you a figure doesn't understand mixing. You HAVE to use your ears to decide what sounds best. The best reason I can give for understanding that is to consider the genre... In EDM you want the vocal FLAT - everything is slammed to the wall and a vocal that jumps up above the main beat will become distracting. Everything else is pancake flat in heavy genres. Your kick and bassline will look like a sausage! Whereas you'll want to retain dynamics to encourage the emotion if its a jazz or folk song, you'll want it to swell in the emotional parts and still hear the whisper quiet parts. REFERENCE! Find a track similar to yours in style and listen to what they did. Style as well.. some people want pumping squashed vocals, some people prefer more dynamics Don't forget your vocal chain either - sibilant sounds that haven't been de-essed, if they are the loudest part of the sound, then the compressor is going to work harder in those parts than the rest of the body of the sound. In my opinion, its best to process the vocal first (this is the prepping stage) De-ess, small EQ adjustment, gain control automation - THEN compress, you can use more than one compressor too so they don't work as hard (all plugins sound best in their sweet spot when they're working as little as possible) Then, you can put a final limiter on with a very very low threshold to stop it from ever going over a certain set level in the loudest parts. Multiple compressors are one of the more difficult but professional ways to level up your mixes. Slow attack and release for longer held sustained singing, shorter attack and release to control the plosives and beginning parts of words. I used to train voice over artists to do some basic mixing at home - one of the things I point out is that after a break in the speaking or singing, the vocalist likes to come back in HARD with more energy, then the power drops off. This is why do much hand drawn automation is needed because the voice is the most analogue instrument there is! It's all over the place in terms of wonky, out of time, out of tune and unpredictable volume levels.. You'll also want to listen to the breath sounds and decide if you want to cut out the breathing completely or just drop it down (usually this is done by hand through the whole song) If it all sounds balanced - yet - the quietest parts are too quiet then think about it - DO NOT compress the whole track more to bring up the quiet parts. You'll ruin all your hard work. Just cut the problem quiet part out to a separate track or adjust the gain by hand using automation and bring that up on its own. Honestly, there are no hard numbers in music production, you can't be told what to do - you're going to have to train your ears. My best suggestion is to listen to your song on as many different speakers and headphones as you can - take a note pad, make a note of overall specific changes that stand out - or just listen just to the vocals and make a note on the time where an adjustment is needed. If I told you that 3-4db of gain reduction is fine for vocals, you'll look at your meters and aim for that, then struggle later to understand why its not working. You hit the numbers correctly, that's all there is to it, right?

@@MOSMASTERING this is gold. Thank you so much for taking the time to share this.

@@jeffvox Hey, no problem my friend and I hope it made sense. Feel free to ask anything else. I've been working in audio for 20 years - a lot of how we get the best sound is very counter intuitive - we want to dive in and dial knobs, but a rational methodical approach is really what is needed. It took me years to develop 'workflow'.

I can tell you how to hear ANY compressor and what its doing with one simple technique.

I'd love to :)

Lol

Undoubtedly you're a new born

Shock horror! 😯

"You mean, not everything is a plug-in?"

That's more of a mastering compressor

You won't be the first who got confused! Especially as its on the left :)

@@CreativeSauce I used to do software product management before UI/UX became a specialty, and that's exactly the kind of thing I'd argue with developers about. "Data flows from left to right, fer cryin' out loud!!"

ugh

@@wardharrisonaghhh

​@@theclaverman You should make a video... smh

@@user-qe1qt7pk8mmaybe I will

:)

He didn't use the word "punchy" cause it is an OPTO-Compressor which are known for being NOT "punchy" 😂

Sarcasm, right?

@@MOSMASTERING Get yourself a hardware Manley Passive Massive and say that...

Compressors don't EQ a sound, they only change the volume. So how can it make it muddy? Some might impart some subtle saturation, but even highly coloured compressors don't change the sound enough to call it 'muddy'. You might get distortion from pumping or slamming a sound like a limiter - but an A2A is a super slow Opto so you're not gonna get that here either.

@@MOSMASTERING “Compressors don’t eq a sound…”you may not continue further. You’re a noob.