![]() ![]() It’s actually quite the opposite of the FabFilter one. This legendary compressor is the penultimate one that made its way to my list of go-to compressors for kick drums. In most cases, you either want to maintain the same amount of bass frequencies or, if the source sound lets you only slightly reduce it. I would definitely use this setting for some softer and sparse arrangements.Īnd as always, pay special attention to what’s happening with your low-end of the kick after compression. It increases the attack of the beater and brings the sound closer to the edge of the speaker, which I really like in my rock productions. I use a pretty fast attack (but not the fastest one) to get that satisfying “ pop” on my kick drum sound. Here are some of my favorite ways to use this one.įunny enough, I like using it in Clean Mode to bring out the crunchy attack of the kick. Many people describe this compressor as the most transparent one and the one that “has no sound.” They mean that it doesn’t introduce a lot of saturation and doesn’t color the sound when pushed a bit hotter.Īlthough I agree that it’s one of the “ cleanest” compressors out there, this doesn’t mean you can’t get some proper dirt out of it! I’ve intentionally wanted to kick off with this one since it’s versatile and widely used among all producers. It’s so easy to make things worse and be tricked into thinking it’s better by the apparent volume boost. In different musical situations, you’ll want to bring out other portions of the sound, which I’ll always have in mind when discussing each compressor.Ĭompression can be a slippery slope. Your compression settings will wildly differ depending on the effect you want to achieve and the genre you’re producing. Now that we’ve got that out of the way, we can move on to some kick drum compression examples and explore how they affect its sound. ![]() ![]() I found that the faster the release, the more “ tail” of the sound you get coming through, and the signal gets more exciting. Release: Determines the amount of time that the compressor will keep the signal compressed. The faster the attack, the fewer transients you get and vice versa. That’s basically where the aggressiveness and punch of any source are found. Transients are the initial portion of the waveform. Ratio: Generally, higher ratios will produce a more audible compression effect.Īttack: Determines the way a compressor deals with transients. The lower you pull the threshold, the compression effect increases. Threshold: In some compressors, also named as “ Input,” is a setting that determines the amount of compression you apply to a signal. It’s more relatable for mixers and, frankly, not as dull. Whenever I try to explain the compressor features to people unfamiliar with it, I like to talk about the sound a particular feature produces, rather than getting all technical. It will be helpful to clarify compression moves we’ll be discussing later on. Since explaining how the compressor works won’t be the main subject of this article, I’ll go over it briefly. 6.7 Should you compress your kick samples? Basic Compressor Features ![]()
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