Cubase compressor and fabfilter pro-c2❤️❤️❤️

Tdr wale

Stock Compressor and may be OTT and melda audio compressor from their free bundle.

T Rack compressors and SSL Comp

Fruity Compressor

1) multibands are majorly used in individual tracks when we need to compress a specific frequency range relative to other sound source a simple example is compressing the 808 with relative to the actual kick by auditioning the attack frequency of the actual kick , in this case that specific frequency will be compressed or ducked when the actual kick hits the multiband compressor. 2) When your sound source has a greater dynamic range I.e. the loud and soft parts drastically varies then compression is needed to make the sound less dynamic and more organic that means more present in the mix. Now that you have compressed to your preference you might find a deficiency in the dynamic range so here to use expander simply its the opposite of a compressor. You might ask "why cant i use the compressor in a certain way that it doesn't loses the dynamic range" It's advisable that once your have got the sound you were searching using the compressor better leave it and to revive the dynamic range use an expander, in many cases expanders are used prior to compressor and GATE is a type of expander. 3)theoretically you can say they are but when applied you can hear the difference for example you are working with a percussion group. you want the compressor to compress it every time the kick or snare hits now If I set the threshold really low and the ratio to 4:1.... it's going to compress every time the hi hats and other quieter random percussion sounds. now we only want to compress when the kick or snare hit. You can fix this by bringing the threshold up and making the ratio 16:1 and by this way I still compress the same amount but it will not trigger when the hi hats hit. 4) if you are recording with an analog compressor ON then majorly a -9db gain staging is advisable whereas standard is -12db this is bcoz the the compressor will be compressing around -3 db more so at the end it is -10 to -12db that is recorded. One more thing i would like to say don't know how many of you will agree Audio recording at the end of the day is all about compromise. Hope i hv cleared your doubts cheers! but its always advisable to read articles to get more in-depth visualization.

Very well explain Abhranil 👏🏻👏🏻 Just a bit of correction in the last one: (4) It is always advisable to record at -18 dBFS while recording through hardware if you wish to capture the most transparent sound without altering the raw texture much (since 0 dBVU = -18 dBFS). Above -18 dBFS, the saturation starts to kick in (as the signal crosses 0 dBVU in the hardware) and can change the texture of your sound drastically (hence the term “colour” for hardwares). Although it’s obvious that if you’re using a particular preamp for recording, you’d want to add it’s texture to your sound, that’s the reason I prefer recording my signals between -10 to -14 dBFS, so that I get the texture of my choice while tracking and secondly, have sufficient headroom for the post production stage. Cheers!

@@MixWithVasudev Okayy bhaiya yess yeh correction tha thankyouu ❤️❤️

Omg comment section so informative 🥵🙏🙌

@@abhranilchatterjee1906 Thanks. You explained well.

Hi AKS Productions, it completely depends on how you want to process the vocals.. what we like to do is blend main vocals with heavily parallel compressed vocals.. with fairly fast attack and slow release to kill the dynamics completely on parallel bus.. so you get the dynamics from the original vocals and thick consistent vocals from the parallel compression..