100% agree. Great explanation.

Awesome, glad to hear that!

Thanks for the feedback 🙏🏼

Sounds good but what’s the puigchild used for ? Just for like more color or setting the attack and release better musically ?

@@impelskies7715 This puigchild represents the grandfather compressor, the Fairchild, from the '50s or so. It's adding an old analog tube saturation sound as well as compression. 670 versions are stereo and 660 is mono. It can work well to color and compress, which is why I used it, and it seems to do this well. Settings are somewhat different than other comps, in that there's a time constant selector switch, it affects the release. There's a spec chart that describes the different TC settings. I haven't used this comp plugin for a month or so, as I'm trying out other compressors, as for my use case, it might be the culprit of using too much CPU resources on my DAW. Bottom line Puigchild gives a tube and transformer like vibe that is a bit different than most others. I may be incorrect, but I think the Manley Mu is a more modern but similar type of comp. My main reason for differring comp types is color and my perceived compression action differences. My opinion is you'd want to sample it to see if you like its color and comp action, because it may not suit your taste or music.

Yes I loaded both compressors on the vocal mixer channel

Thanks bro.. I will do some vocal mixing tutorials specifically for FL Studio soon.

I'm looking forward to it and I know all plugins are the same just different display..

@@thabangadikgale461 that isnt always the case but the fruity compressor is actually pretty good

CLA 76 + CL1B combo is legendary

I prefer to have the CL1B first as a leveller and then the 1176 after. This way the 1176 is always doing a similar amount of gain reduction and the tone it gives is more uniform.

Probably not that really doesn't matter in any way as long as you're not clipping it could be -1 -3 -6 it makes no difference if its too loud turn it down

its on the track

Parallel Compression would typically be done on its own mixer track so it is processing a duplicate copy of the lead vocal. So it’s not really a part of the lead vocal’s plugin chain if that’s what you’re asking.. but I usually mix the lead vocal and if I still need it to be more upfront in the mix then I will add parallel compression to add thickness. Parallel compression completely squashed the signal so there’s no peaks. That’s why it’s great for blending in with the lead vocal because it won’t really raise the overall peak level of the vocal, which will help you get the track loud at the end during mastering along with many other things across the mix. Hope this helps.

Same lol

Yes it’s called “Champagne Leaves” by Jerry Gleam on all streaming platforms

The more dynamic the more compression. But you need to listen how's that sounds anyway

It’s called Champagne Leaves by Jerry Gleam on all streaming platforms

In a way yeah, but vocal rider doesn’t add any color or tone that you’d get from a compressor in addition to the leveling it does.

It doesn’t matter really so much as to what compressor you use, but you want one to have a fast attack setting to control the peaks and one with a slower attack setting to add some smoothness.. the actual compressors you decide to use is a stylistic choice

@@mixwithjerry gotcha, that breaks it Down perfectly! Subscribed. Thanks Jerry!!! 🙂😎💙

My opinion: it's not so much which ones specifically you're using, but how you're using them. As Jerry said in his comment, make sure one does a fast attack and the other one slow. The 1176 and LA2A, and emulations of those, naturally give you those fast and slow compressors, but there are others. Some, if settings allow, could be both slow or fast. That's why I said in the beginning it depends on how you're using them.

@@DeltaWhiskeyBravo13579 gotcha that makes a ton of sense. Thanks bro!

@@iamnyron welcome, best to ya on whatever audio you're into

There are no rules so definitely. Just keep in mind how much compression you’re getting from each and what role each compressor is serving.

@@mixwithjerry sure. love your videos. learning a lot of stuffs from you

Sure do 👍🏼

@@mixwithjerry thank you brother love ur new song by the way the words are very touchful... I got a quick question I just started using saturation on my mix where best in my vocals chain should I place my saturation when mixing???

Design interface. Down to choice

Mono is for single sound sources (like a vocal recorded with one microphone). Stereo is for something recorded with multiple sources to create a left and right channel (like a synth).

@@mixwithjerry so if i mix my rap vocal, i need to use the mono version?

@@idane1234 Yes, that would be good practice.

Because my vocal signal is mono

Champagne Leaves - Jerry Gleam

RComp with a fast attack (like 2.5 ms is good starting point) and medium to fast release. Then the Rvox right after that. How much you want each compressor is up to you but the RComp is for the peaks and RVox is for overall tone and level.

@@mixwithjerry thank you so much! Did not expect you to reply on a year old video. Super cool man, ty again

There are other compression tutorials on my page where I explain why and how to compress a vocal. This is a more advanced tutorial. I didn’t want to make this video too long by over-explaining something that most viewers already grasp. Don’t focus on why I have 12 db of gain reduction. That’s just what this particular vocal needed. All vocals are different. The point is that this technique just splits up the workload between 2 compressors instead of one.