MixRevolution Blog

So I have we always have to give it up to people doing big thing in the dance music community, and the people over at Beatportal usually are sitting top of the list. The article bellow goes into how to utilize compression to liven up a track, make a mix cd more clear, or just give an overall higher quality of sound to what ever you are working on. For those of you who especially use Abelton, this article directly impacts you as Abletong is the key software focus of this article.

In our first installment on audio processing tools, we’ll tackle one of the most basic – yet seemingly arcane – tools in a producer’s arsenal.

The compressor.

Correctly applied compression is one of the most useful techniques for bringing a track to life, adding impact and character to everything from bass and drums to an entire mix.

The underlying principles are actually pretty easy to understand, once you familiarize yourself with the various parameters and terminology.

So let’s do that.

How compressors work

Compressors affect the most basic aspect of sound: Volume.

In studio parlance, we use the term “dynamics,” which is just a fancy word for how a sound’s volume changes over time, like the immediate crack of a snare or punch of a kick.

Another example might be a chord progression that varies slightly in level as the sound evolves.

By applying a compressor to these signals, we can modify their dynamics to bring them in line with our production objectives.

The essential concept in understanding this process is that a compressor lowers the volume of a signal when that signal’s volume exceeds the level determined by the compressor’s threshold setting.

The amount and rate of that volume reduction is determined by various other parameters with names like ratio, attack, and release.

Finally, many compressors offer different options for modifying the character and performance of the process so that it can be fine-tuned for a wider variety of production applications.

With names like peak, RMS, soft knee, hard knee, lookahead and sidechain, it’s easy to see why so many producers just turn the knobs till things sound “good.”

But actually knowing what each knob does is the domain of the pros, so here’s an overview to get you started.

Compression parameters

Threshold

This is the key parameter that governs the overall behavior of the compressor.

Threshold determines the volume at which compression kicks in.

Simply put, when a signal’s level exceeds the set threshold, the compressor activates and begins lowering the volume.

Ratio

Next in importance is the ratio parameter.

This determines how much the compressor will lower the volume once the threshold is exceeded.

For example, if a compressor’s ratio is set to 6:1, then when the threshold is exceeded by six decibels, only one decibel will pass above the threshold.

Extreme settings, like 10:1, allow only one decibel to pass for every ten.

Note that for many producers, any setting above 10:1 is considered “limiting.”

That is, at the highest settings, a compressor turns into a limiter, which serves the same essential function, but in a much more extreme manner.

Attack

As with synthesizer envelopes, the attack parameter determines how quickly a characteristic changes.

In a compressor, the attack parameter controls how quickly the processor lowers the volume after the threshold is exceeded.

Here’s a practical use: If you’re using a compressor on a drum and you want some of that drum’s original attack to cut through, set a slower attack so the compressor doesn’t clamp down too quickly.

Release

Once the signal passes back below the threshold, the release parameter determines how long it will take for the compressor to stop manipulating the volume.

At this point, you should take a few moments and experiment with all of the above parameters, paying close attention to the attack and release amounts with high ratio settings.

If you’re not careful with these parameters, is all too easy to take a wonderful, lively sound and squish it into a lifeless mess, so spend some time learning how these parameters affect a wide variety of sounds.

Use drums. Use bass. Use vocals, pads, or any other instrument that’s part of your style.

Once you have a basic grasp of your compressor’s sound, the next round of parameters will make a lot more sense.

Peak/RMS

Many compressors include a Peak/RMS switch.

This affects the behavior of the threshold control.

In peak mode, the threshold reacts quickly and strongly to sudden volume changes, which can be quite handy for drums and percussion.

RMS mode causes the threshold parameter to adapt to the overall average of the volume shifts, which is useful for more consistent signals like voice, pads and even full mixes.

Knee

Another common parameter that shapes the sound of a compressor is the colorfully titled “knee” parameter, which is so named because it changes the shape of the threshold response – looking a tad like a knee.

The screenshot on the right shows Live 7’s compressor with a softened knee setting.

Hard knee compression is the usual default, but soft knee mode is a much more pleasing sound for many producers.

Here’s why.

When soft knee mode is active, the compressor gradually kicks in as the signal approaches the threshold rather than simply engaging instantly as the threshold is crossed.

Again, there are valuable uses for hard knee mode, like drums and compression.

But when you hear producers talk about “transparency” there’s a good chance they’re referring to a soft knee mode – often in conjunction with the RMS mode mentioned previously.

Lookahead

Lookahead is a parameter that’s found exclusively in compressor plug-ins, since implementing it in hardware would defy the laws of physics.

What lookahead does is analyze the sampled audio before it arrives at the compressor, thus giving the compressor a “heads up” that a loud signal is on its way.

Like an audio crystal ball, of sorts.

Ableton Live’s Compressor device includes a lookahead function that can be set to 1 millisecond, 10 milliseconds, or “off.”

For what its worth, I just leave it in 1 millisecond mode and forget about it.

Maybe I’m just lazy

Sidechain

And now, the moment many of you have been waiting for… Sidechaining.

Sidechaining is one of the coolest features on any compressor, since it allows a second signal to control the compressor’s behavior as it processes the primary signal.

What the heck?

Here’s the most common use for sidechaining: kick and bass.

Since many kick drums share the same frequency range as the bass line, it’s quite common for the two elements to get in each other’s way.

By using your compressor’s sidechain function, you can use the volume of the kick drum signal to lower the volume of your bass sound every time the kick drum hits, thus creating room for both instruments in a push-pull manner.

In doing so, you’ll immediately be rewarded with a sound that you’ve heard on countless tracks to great effect.

We highly recommend spending time experimenting with this specific technique, so to get you started, check out the screenshot to the right.

And don’t just stop with bass, either. Try using a kick drum as a sidechain input on sustaining sounds like pads, as this will give those tracks that “bounce” that defines tons of trance and progressive house classics.

Now go compress something.

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These days, when you see somone DJing you almost always seem them doing one of two things, looking at their blackberry or iphone or starring endless into a computer screen.  Joking aside, laptop djing is here and with product such as Serato and Final Scratch it doesn’t look like it is going anywhere.  Quite frankly, why should it.  As a DJ it offers you a lot of flexibility, doesn’t brake your back or your wallet carrying or buying records, you can remix on the fly etc.. etc… etc..  But the one thing that a lot of DJ’s have been been craving is the ability to drop samples ontop of their records. While most DJ will have converted their into or a police alarm to an mp3 to play through the Digital Set up.  What happens when you have two records going and you still want to drop a sample of efx.  The Answer, is simple Kueit


Mixcity Inc.’s KueIt gives you the ability to access 310 audio clips for instant simultaneous playback at the touch of your fingertips.  It’s as easy as a simple keyboard key stroke or the click of your mouse.  Create and store your own library of music clips, sound effects and jingles with ease.  KueIt’s user-friendly interface allows you to access audio files quickly, making it easy to create your own custom user profile in minutes.  KueIt is the only software on the market capable of giving you truly instant seamless playback of as many as 310 audio files played simultaneously from one computer.   Here is Fat man Scroop giving you the low down on Keuit.

 

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I do not consider myself a great DJ at all. I have dabble in many aspects of the field for 13 years now. One thing that has always perplexed me and been a big thorn in my side is when you go to mix 2 songs that you know have beats that are easily mixed but for some reason they sound awful together. It didn’t always make sense until one day I read about how many of the best Electronic DJs not only worry about BPM but also the Key in which the song is played.

Years of musical training all made sense at that moment. When someone sings a song off key, like a friends in the car, it sounds terrible. We all have experienced that. So why would it be the same for 2 songs that get mixed together.

Now if most of you are like myself, you don’t have the time to worry about this.

So in comes Yakov Vorobyev and his company Mixed In Key, LLC. A program I have been working with for over a year now.

It’s a pretty simple and straightforward program that can figures out the Temp and Key of every MP3 or WAV file you have. It will then place it’s analysis in the BPM and Comments section of your file and will then come up in any Software program you use. I have tested it with Serato, Traktor and Numark Cue. The video below is a bit chessy but informative.

The purist may get angered by this but as for I am all about spreading this simple process in order to hear more cleaner Mixtapes and Sets while out at the Local Dive! Also, on a side not, think about all the DJ AM/Crooklyn Clan mash ups you can make that will actually sound right together!

It’s supporters are impressive too from Kaskade to Blank & Jones to Deep Dish and Pete Tong. Amazing DJs with amazing talent.

The site explains it all and has great tutorials. There is no need for me to go into detail about how to use. But for a simple investment of $58, your current and future fans will be thanking you and in turn Mr. Vorobyev for this wonderful creation! Check it out now!!!!

MIXEDINKEY.COM

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