Drums Compresion

DjFeelgood

New member
I found somewhere that the basic rule for drums and percussions for compresion in:

Subtle kick drum compression
Ratio: 3:1 or 4:1
Attack: 4ms
Release: 200ms
Threshold: adjust for about 3-6dB gain reduction

More “in your face” kick drum compression
Ratio: 6:1
Attack: 3ms
Release: 200ms
Threshold: adjust for about 8-10dB gain reduction

what you think?
 
That's a decent enough starting point - or someone's opinion of one. Probably written with recorded drums in mind, of course, and should be altered to taste and in respect to whatever kind of sounds you're using. An 808 is far different than a 22" rock kick. If you're using professional sample sets, chances are that it's already been through compression. Or not. The point being that there are so many variables even with a "simple" sound like a kick, that basically all these "rules" go out of the window. Use your ears :)
 
This chapter about compressors of the book "Mixing with your mind" by Mike Starvou is highly regarded and praised to learn how to use a comp. Here it is:


It's Like Cracking a Safe

Compressors have four basic knobs (parameters) and the key to classy compression is as simple as the order in which you reach out and focus on adjusting those knobs. When you get the sequence right, you'll hear more clearly the effect of each parameter - thereby arriving at a truer and more musical setting.

The compressor's combination lock has four tumblers. Adjusting them in a special order also prevents you from returning to a previously adjusted control. Don't you hate it when you are happy with the Release time until you fiddle with the Attack? They affect each other when adjusted randomly or out-of-sequence. Chasing your tail is about to become a thing of the past. Like cracking any combination lock, once a tumbler falls into place, you need not return to it. Each step represents decisive progress.

Getting started (temporary settings)

To crack this combination, you will need to set all the controls to a temporary setting while you focus on one parameter at a time. Once the first one is set, that tumbler falls in place, leaving three more to crack. Focus on the next one - listen - adjust - and tumbler number two falls into place and so forth. Approach this safe-cracking exercise in a different order and you will arrive at a different result.

* Attack to anywhere
* Release to minimum
* Ratio to maximum
* Threshold to sensitive

1. Attack

The first thing you do is set the ratio to as high as it'll go - 20:1, infinity... the highest you've got. Next set the release time to as fast as it'll go - which, admittedly, is faster than you'd ever want it. Then, drive the audio into the unit, either by lowering the Threshold or increasing the input (depends on the unit), and listen while you adjust the only the Attack time.

Listen to the Attack - the leading edge of the sound - while rolling the Attack knob. Try to ignore the horrible pumping caused by the after effects of the fast Release - just listen to the Attack. (The ultra-fast Release lets you hear far more individual attacks than a slow setting.)

Listen to the front edge of the sound. Notice how the Attack knob affects the size of the hit. So, if it's a snare drum that you are compressing, and the Attack is on a fast setting, it's as though the drumstick is really skinny.

Alternatively, if the Attack is on a slow setting, it's as if the stick is much thicker. Likewise, if it's an acoustic guitar and the Attack is on a fast setting, you're just hearing the finger nail come through as it hits the string; while if the Attack is slow, you might get the whole strum through - the entire transient bypasses the compressor. So, forget all the after effects, just listen to the thickness of the Attack until it's "tasty" - you might want it thin, you might want it thick, just think aesthetics. And then, because the ratio is so high and the release is so fast, you'll be able to hear the affect of the Attack time much clearer than if they were on any other setting. This technique effectively "turns your ears up" to heighten your perception of the Attack time control.

2. Release


The second step is to play with the Release time. "Release" controls the speed at which the sound glides back at you after being punched away. The trick is to get that speed to become a musical component of the sound. You might ask, "Do you mean in time with the music?" or "With fast music do I set faster than I would for a slow ballad?" Perhaps, but certainly don't think, "I want it fast because I want to compress the crap out of this" - don't do that. In fact, make it as slow as you can, so the compression envelope bounces back to reinforce or establish the groove of the music. Remember, any dynamic movement in a song affects the groove, and compressor/limiters are no exception. (Whether the Singer is moving back and forth from their mic, or you're madly wiggling a fader, or a compressor is pushing and pulling on a sound, the groove is at risk of being enhanced or destroyed by dynamic movement.) So, don't set your Release to a fast setting just because you want to hear something buried behind the sound. Forget that. There are bigger fish to fry. You're already compressing a little bit, so the background sounds will come forward anyway. Instead, you want to think, "How slow can I get it while maintaining some control?", because the power in the groove is really a slower-moving, subliminal yet powerful wave - it's not an ultra-fast thing that's there to crunch your sound. Even in a frantically fast-paced tune, a slower, subliminal undercurrent carries most of the power. For example, you might have it so slow by the time the next hit comes along it's not quite fully released. But that's okay. A formulaic approach might intellectually tell you that it has to be fully released before the next hit, but that's more math and less groove.

Listen to the Release. Feel the way it glides or bounces back at you and there will be a point where you sense this bounce-back is kind of like a swing -almost like someone is swinging from a rope in a tyre in groove with the tune. It doesn't have to be perfectly in time, because a groove - as anyone who teaches music will tell you - should keep time, but not necessarily play the time.
Never play the metronome. Never play the conductor's baton. So, don't just make it a quarter of a beat or whatever, just look for that groove, and that's your release time. Make the rush of the Release a musical component that pushes you into the next beat without pre-empting the beat. Let the musician hit you while the pressure is still rising instead of letting the compressor finish its swing - dead air - lifeless moment... no good, Allow the compressor to push the sound towards you until the music makes it's next statement.

If, however, all you care about is maximum volume (no matter how detrimental to the groove that might be), then ignore this last paragraph and set the Release to "maximum irritation"! But I must add that if you aim to make the product likeable (extremely groovy, for example), the wrist of the listener will always turn up the volume for you more effectively than any brick wall compression ever could.

3. Ratio

At this point, the Ratio is set to maximum, so it's going to sound over compressed. So the next job is to take the Ratio and lower it as much as you can without losing the effects you created with your Attack and Release settings.

Think of the Ratio control a bit like a telephoto lens - the higher the Ratio, the smaller the sound is - although it will be more controlled. The lower the Ratio - as in 2:1(given the same output voltage), aesthetically feels like a larger image. So, the lower the Ratio the bigger it is - but at the risk of getting out of control. Meanwhile, the higher the Ratio, the smaller it is - although more contained. The idea is usually to try and make it sound big, but in control. So, bring down the Ratio, then when you don't hear the effects that you like - the thickness of the stick, the groove you created with the Release time - you can raise the Ratio a little, all the time focussing on size. At this stage, don't think about Ratio in terms of numbers - just about size and firmness of the sound. You know how I often talk about "firmness' and "Hardness Factors"? Well, as you raise the Ratio, the sound will become firmer (and smaller) as as you lower the Ratio it becomes softer(but bigger). So you might want to think along the lines of: "How firm do I want this?"


4. Threshold

The last thing you adjust is the Threshold. It's important to turn the Threshold knob so that it's not compressing all the time. The right setting will see dynamic movement coming to rest at special moments - otherwise you get a flatter, more lifeless sound.

Having uncompressed sound emerging from the processor at appropriate musical moments adds colour and contrast to the sound. For example, permitting the dynamic movement to come to rest in some quieter moments allows that moment to attain a momentary, bigger, 1:1 presence, and prevents it from rushing towards the listener with unwanted noise. It's sad enough that the little quiet moments are small without being squashed smaller still due to high compression ratios. Each time the sound comes up for air, so to speak it attains a sense of reality - a 1:1 ratio.

WARNING!
Most engineers do not realise that Ratios are multiplicative, not additive. If you compress your mix 10:1 and then the mastering engineer compresses it at 10:1 you effectively achieve, not a 20:1 but a 100:1 texture. Ouch! Consider yourself warned. This applies to all compression. If you compress a voice during recording at 10:1 and then in the mix again at 4:1 you don't get 14:1 but 40:1. Next time you mix consider the ratios likely to be used at the radio stations that provide the finishing touch. Ask yourself, "How small a sound can I bear to hear On the Air?"

That Very Expensive Sound
If you follow these steps, set your compressor to the settings in the illustrations, and follow the path of the Yellow Knob Road, then by the time you get to this point in the article you'll have a big and bouncy, firm but flexible, juicy and slippery groovy sound. Or as some would say, "a more expensive sound".
 
Manducator,

Thanks for sharing this method, it sounds really interesting as I never really have gotten the thing about how to compress. My question though is, can this method be used as a standard method for every type of instrument/synth you use or only for drums?
 
Every instrument reacts differently to being recorded, also depends on the room environment it was recorded in with what techniques; and as krushing said, there are acoustic instruments, electric/electronic, and virtual-- all different, use your ears. There are some standard techniques for drums, as for other instruments, but they are a starting point.

That being said, compression can have a dramatic, and when used properly, beneficial effect on even electronic or virtual drums. Especially if those parts were input with a human touch (for instance, a trigger pad or a drum machine). You'd think that a drum machine snare would have all the compression and consistency it would ever need, but when you physically play a pad, you are subject to the same human variations as when you actually play a live snare drum. Try it; program a beat with a heavy snare that you physically input (not point and click), and listen to it without compression, then hit it pretty hard with comp. The difference is pretty intense.

GJ
 
I found somewhere that the basic rule for drums and percussions for compresion in:

Subtle kick drum compression
Ratio: 3:1 or 4:1
Attack: 4ms
Release: 200ms
Threshold: adjust for about 3-6dB gain reduction

More “in your face” kick drum compression
Ratio: 6:1
Attack: 3ms
Release: 200ms
Threshold: adjust for about 8-10dB gain reduction

what you think?

In softer genres like country I want all of my hardware compressors in the mix dialed in to max long attack, medium release and lowest possible ratio as a starting point. If I am not happy with the sound on this configuration, I change compressor. Then instead of doing a heavy mix bus processing approach, I instead tune the effects that are applied prior to the post-mix busses. My focus is primarily on getting the right peak, rms and average frequency hitting the post-mix tracks, with a small peak margin and rms margin that I leave for mastering. This means that the mix is quite near the final loudness level, balance and translation quality prior to mastering. It can then be tuned to perfectness during mastering, against the monitoring gain sweet spot.
 
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Nyquist Theorem relies heavily on peak saturation factors, even if rms metering is used for volume units or voltage spikes. Likewise when using limiting instead of straight compression, a ratio of 10:1 cancels out phase inaccuracies that effect thd figures down to the micro-farad. Which in turn causes polarity to tessellate and therefore duplicate wave functions at full excursion. This engenders near singularity-level importance, from a non-distorting pulse width waveform's purview. Once you achieve that, it's almost impossible to go wrong. A perfect arrangement, with no competing frequency information, elastic tempo and dynamics, all due to establishing a simple plan and following through when it just feels right! THAT is how the pros do it, at least. Usually with some light alnico polyglycote added during optimum resonance.

GJ

PS-- Of course, negative factorization could still occur during acoustic amplification. Edison proved this handily a century ago using a rudimentary mechanical oscilloscope fashioned with nothing more than a mono-filament, a prism, a gyroscope, and some calipers. The fact that he could, still without utilizing any electric current, speaks volumes about his orthographic and ultraphonic processes. We should all aspire to achieve that level of pitch accuracy as measured against the bias current, when applied. Calibration becomes much easier then! Heaven! :

THIS-- https://m.youtube.com/watch?v=DzLiMn015gA

Versus

THIS-- https://m.youtube.com/watch?v=fd_9qwpzVBQ

The difference should be obvious and the evidence irrefutable. But they both pale in comparison to THIS-- https://m.youtube.com/watch?v=oavMtUWDBTM

Hopefully, I've made my case.
 
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Class tips thanks lads. Any specific tips for hip hop or lofi drum compression. Ive played around with side chaining but im not completely sure what im doing....but if it sound good right.
 
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