![]() ![]() The Side Chain section of the Logic Compressor, therefore, looks not entirely dissimilar to an equaliser, but in this case, it’s not applying equalisation that we’ll hear in the output stage, but instead an equalised version of the Side Chain being used to feed the Logic Compressor. The concept to grasp here is that there’s a distinction between the sound present at the input of the compressor, and the signal being used to ‘drive’ the compressor. To have more control in relation to frequency, we make use of the compressor’s Side Chain section. Now fine-tune the threshold and ratio so that the gain reduction is only triggered when the sibilance occurs, using ratio to define the amount of sibilance reduction you want to achieve. To make the Compressor sensitive to sibilance, activate the Filter section, using the BP (band-pass) mode and tuning the frequency to where the sibilance is most prominent (usually around 3kHz). You could use the dedicated DeEsser plug-in, of course, but there’s a lot to be said for the simplicity and visual clarity of the Compressor for simple de-essing tasks. Focus On De-essingĭe-essing is another form of frequency-conscious compression – in this case, making a compressor particularly sensitive to sibilant sounds in the human voice. ![]() While the effect is interesting, the resultant pumping sound might not be the result you want to achieve. The reason for this behaviour is that the kick is supplying a disproportionate amount of sound energy, largely because our ears are much less sensitive in that part of the frequency spectrum. This is often particularly evident on drum compression, where the kick drum dictates the movements of the compressor more than any other part of the kit. ![]() ![]() One key facet of a compressor’s response is frequency, or more specifically, how different frequencies can push a compressor into applying gain reduction. True mastery of compression, therefore, is about fine-tuning this performance – whether it’s picking the right model type, for example, to flatter the sound you’re processing, or making the compressor more or less sensitive to characteristics of the input. If you’ve mastered the basic parameters of compression – ratio, threshold, attack and release – you’ll soon start to appreciate that a compressor’s response can vary between different types of input signal, as well as variables like the model of the compressor. Together, these show just what a versatile performer the Compressor plug-in is… The Logic Compressor – Frequency-Conscious We’re going to look at three techniques: frequency-conscious compression, New York compression and EDM Side Chaining. However, given the inherent flexibility of Logic Pro X’s Compressor (which is as good as any third-party alternative you could care to mention) combined with the fact the engineers use compressors in some fiendishly inventive ways, it’s well worth a closer exploration of the plug-in’s deeper features. We first took a look at the revised Logic Compressor a while back exploring the key processes involved in setting up and using the plug-in. It’s like having 5 analogue modelled compressor plugins + stock digital all in one.For this tutorial you will need the project file – download here The silverface is more aggressive than the blackface.ĭrive the FET (1176s) input hard to get a ton of saturation - great for smashing drums/parallel compression.ĭrive the input of any of them a little then set distortion to soft for even more saturation/colour. One cool feature is when you tab through the various modes of compressor the settings are maintained so you get to hear for yourself what the differences between an 1176 and a LA2A are (and what they’re good for)įor vocals try a Studio or Vintage FET (1176) with fast attack to just about catch the peaks then chain that into the Vintage Opto (LA2A) to smooth the vocals (classic combo for vocals). Platinum Digital : Logic original digital Here’s what they’re apparently modelled after: ![]()
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