It blew my mind when someone first showed me

And. It just any compressor. Took me a while to find that out. I’m not sure why some work and some don’t though. Haven’t figured that out.

Thanks dude! That’s awesome. Who did you come in with?

They may win the battle.... but we will win the war! haha Cheers!

THANK YOU! That makes WAY sense now. Cheers!

Ha! Thanks!

Pretty much!

Glad it helped!

Yes you can use it on almost anything with a clean transient. I know. It’s moving fast!!

NP! Have fun!

Let me know how it goes

You are so welcome!

You bet!

hahaha! Thank you! Will do!

Let me know if it works for you

ha! Thanks! Have you tried it yet? Did it work?

Recording Studio Loser not yet! Still finishing up work in progress where I don’t want to change things up yet. But in a few days. I’ll let you know how it goes 👍

Haha you welcome

Love this trick!

I wouldnt steer you wrong. Haha....... intentionally

I’m down! Let’s do it

I love it. used it almost every day for like 7 years. Haha

Thanks for the sub! I'm constantly Trying to learn!

Yeah it’s not my trick an engineer that trained me way back showed me this trick and it blew my mind. But I don’t see a ton of people using it.

I aim to please.

That’s what I’m here for

just tried it and its as incredible as it seemed

let me know how it goes!

First I need to find out if I have a linear phase eq haha@@RecordingStudioLoser

Many thanks!

I use this literally every mix. Works on every drum too. Especially toms that are picking up to much crash or ride.

So simple that it’s a head-smacking moment. So effective one will never forget it.

There’s my click bate title!!! Hahaha!

Recording Studio Loser 👍🏻😂

I have tried expanders (or multi band comps like Fab Filter Pro MB that does this). But it doesn’t seem fast enough. And the ratio is hard to pin in the right position without sounding unnatural. And it seems overall less predictable. It’s still a great trick and I will sometimes still reach for it. But when I really need control I do the phase trick.

@@RecordingStudioLoser awesome info, I admittedly haven't used the expander enough to get that experience, so thanks for sharing (even more). Great work as always, man!

Although a fan of 'natural' sounding drums I was obliged to get a set of Gates for my old PA Hire rig. It was Required by customers. The gates DO give separation but they also bring their own problems with them too. With no-limits recording these days at least we have the luxury of being able to apply such gating After the fact and decide whether or not we want it.

Depends. If there’s some clean transient to grab onto. Yes. I don’t think it would work on everything.

That totally works. I love Massey DRT for that purpose. But in an event like this sometimes you aren’t provided with samples from a kit, this will work.

Ahhh totally - great solution you’ve provided here .. and excellent content you’re sharing here sir - great stuff indeed ! Brilliant delivery style- entertaining and engaging - love it 👍🏻 Subscribed 👍🏻

Glad you like it!

@@RecordingStudioLoser is there some way this can be used with sub-optimal vocal recordings?

I don’t think so. You can try but I don’t think this would work on vocals. You need that heavy transient to make it work. It hey. Give it a go

@@RecordingStudioLoser Yeah makes sense. Compression won't work well for this, even if we go about automating the level of the phase inverted clip, it'll be equivalent in effort to simply automating the main clip.

I have music nice content check me out

😂😂 no worries man. Haha enjoy!

hahaha

I say real quick in the video (should have explained it better) that i clipped the snare before the video to show how well the trick can bring the hat down.

​@@RecordingStudioLoser so you do the clipping/compression OTB with analog gear, right? I just notice on youtube that engineers using pro tools record clipped tracks Thank for the reply

Thanks man! I use and EOS R with a sigma 18-35 lens... I’m learning as I go! haha

@@RecordingStudioLoser Thank you! Looks really good!

That’s the idea. This should perform differently than a normal gate. Given your comp is fast enough.

@@RecordingStudioLoser Ive got some toms that NEED this technique. Thank you!!

👻

Hahah.

That is super weird. We’re the tracks at the same volume? They need to be both set identically to cance

My inclination would be to bus the sum of those mics and treat the bus and a duplicate of it as the track as I do.essentially doing the same thing I’m doing but with the benefit of multiple mics.

@@RecordingStudioLoser I guess I could bounce them down to 1 stem too, once i'm happy with the blend and phase is sorted, then just treat the one stem. But you gotta be happy to commit! Where as bussing would still give me the flexibility to change the mix. Such interesting stuff! Thanks so much for the reply dude. Love your channel. x

Works great on toms. Process is nearly identical. Give it a go!

Correct. I just showed snare but yes. It works really well with ghost notes. Long as you are careful about dialing in the compressor it works really well.

@@RecordingStudioLoser Thanks, Jeremy!

I’m not sure, I never used it? If so, that would be incredible.

I would use it! I’m nit totally sure it’s different. More that i haven’t been able to find a downward comp that’s fast enough. Or precise enough on the detector in especially louder bleed situations. You still get that “SHWOW” effect with expanders that isn’t totally desirable and definitely gives away what’s Happening. I’d love to help develop/ try it out if you make one!!

Recording Studio Loser interesting. What you’ve built here is a kind of noise gate and it sounds like a good one. But I’m just trying to understand why it sounds different from existing noise gate plugins. Maybe it’s the sidechain filter that allows you to ignore the bass drum.

Ulf at Hobo Rec Recording did it in the analog realm. Check out his channel! kzfaq.info/get/bejne/hd-mY5SBrL2ap40.html

@@RecordingStudioLoser yooo thanks :) :) :)

An older engineer taught me a long time ago!

I showed snare but you can do it for any drum. And it doesn’t have to be just to the top end. That last EQ in line can be pretty flexible.

When your doing it right the top end your losing are the cymbals. The snare sound should he totally intact. Because there is nothing to cut it out when you hear the snare. You can try setting up another buss and phase canceling that to hear the reverse what what this process is doing. So essentially you hear cymbals playing and dropping out when the snare hits. If there is top end lost you’ll hear the top end of the snare playing during this test. Keep in mind I’m doing this to snare top. Not bottom where most the top end comes from. I normally want this and punch from snare top. Which is also the mic with top end cymbal bleed.

Ulf is the the man.

I’m not sure this will work in a vocal. The reason this works is because of the high transient of the drum without seeing your track it’s hard to tell what could be done.either way. I wouldn’t really recommend this technique for vocals. Have you tried something like IZotope Rx?

Hey! Tighten up the compressor. Make sure that attack is super fast. And the release… start with it maybe 100-120ms. Pretty hard. And set the threshold to just grab the transient. What should happen is that is that it should sound like a gay that is Way to hard. And your only hearing the attack of the snare poke through. The EQ then comes in to essentially removes the phase flipped portion. So you can start with a HP and slowly bring it up to get more low end back in your original snare. Because it’s no longer being phased cancelled out.

@@RecordingStudioLoser Got it! Thanks!

Is delay compensation on? Is your compressor set as fast as it will go? Try a few different comps. Let me know what you find.

The attack might be cutting off the start of the transient, which could make it sound muddy. Needs a very fast attack, so some compressor types (optical for example) probably won't work. If you have choices, try a 'clean' modern compressor.

A gate is a little different. Not as dependable in some situations. Certainly not as fast. AND. I I didn’t want it canceling the low end. That split second it opens for the snare them closes you don’t perceive the cymbal bleed the same as with a gate which will opens and close fully for a set amount of time.

@@RecordingStudioLoser Thanks man, i lack some headroom to get my head around it. i am going to try it see it, hear it, understand it when i dial the knobs.

No worries. I didn’t fully understand it until I did it a few time. Once you get in and try it. Ned with a gate and then this. Sometime. All you need is a gate... or nothing at all. Just different tools.

Because they are phase cancelled. The compressor is only making the snare change, so everything else is still being nulled out.

@@ozzy3ml but the hihat should also be bleeding through the compressor when it gets ducked right? 🤷‍♂️🤷‍♂️

No. That’s the whole point of this trick. Using phase to cancel the hat is specifically the point of the video.

@@boimesa8190 check from about 6:15, an eq is used to carve the low end out of the phase cancellation

@@ozzy3ml yes... Although the snare is still in the same area of the frequency spectrum as the hihats... So again, if the compressor ducks the snare down, it ducks everything else down also (except the sidechained highpass filter ofcourse)

Not really. It will help you reduce bleed overall.. but what you lack is only effecting a certain frequency range over a cerain amount of time. So where a gate could be too grabby and sound unnatural, this wont. If your bleed issue isn't that bad and the groove of the drummer is slow enough so the gate wont interfere with the resonant decay of the drum... Then a gate will get it done.

@@RecordingStudioLoser ah nice I get what you mean now thanks

In the sense that a gate ducks below a set threshold.... yes.. More like a very tuned gate for your given source that will only react with your source, within a specified frequency range. Try it yourself. Set up a gate, then set this up. Let me know what goes down.

@@RecordingStudioLoser I did try it a long time ago, and as cool as it is it didn't do quite what I needed. These days I do a crazy trick though, try it out sometime: Copy the track like in your video. Use a linear phase EQ on one of the two while soloing it, and HIGH PASS it so you're isolating only where the harsh cymbal bleed is happening. Now, all the processing will be happening BEFORE the EQ on the HIGH PASSED track, ao the high pass is happening AFTER this part: use a compressor with lookahead, like the free ReaComp (just set pre-compression to match the attack). Attack time at 10ms is fine. Max the ratio to absolutely SMASH the transients. But set the threshold to where it isn't reacting to the cymbal bleed itself at all. Set the release as short as it needs to be to only duck the snare hits completely. Now you have an "isolated" cymbal bleed track! This part is important as hell: copy the entire chain over to the other snare track, then turn off the EQ band so it's not doing anything to it, and set the compressor to a 1:1 ratio so it isn't doing anything either. You are simply matching the added latency to keep the phase coherency! Now phase flip the high passed track, and voila. You just deleted the cymbal bleed. You may now adjust the high pass frequency to taste.

@@MFKitten It sounds like you are doing the exact same thing as whats in this video, only in a different configuration. Not knocking it and I will for sure try it out. Im just thinking it through and it sounds like the same idea. Whats different? Both procedures are creating a phase cancelation for everything except for the transients above the threshold of the compressor and ignoring the low end.

@@jasonzdora ya know, you might be completely right about that now that I think of it :p

I didn’t I was taught it a long time ago. In a galaxy far far away…. College.

A fat won’t respond in the same way. Nor nearly as accurate especially when dealing with cymbal bleed. Give it a try!

Your not an idiot. It's different because its not effecting the entire spectrum of the drum. And it cant be more accurate especially when there is heavy bleed that can throw off a traditional gate. since i put this out some gates have stuff under the hood doing this process... but this is a way to get it done for free.

@@RecordingStudioLoser Thank you. That made a lot of sense.