Using Compressors, Reverb, Delay

Question 1

Describe the following for compressor parameters:

Gain Reduction
Threshold
Ratio
Attack
Release
Knee

Answer 1

Grain Reduction - how much it is compressing the loud portions

Threshold - the volume where the compressor starts taking effect (reduces gain)

Ratio - the amount of compression applied to the signal processed in fractions (For example, a ratio of 2:1 will reduce the gain by half, 4:1 by a quarter, 10:1 by a 1/10th etc)

Attack - the time it takes the compressor to do its full level of gain reduction. (slower attack makes snappier transients)

Release - amount of time it takes for volume to return after gain reduction (slower = more glue, faster = more pump; brings the lower volume content to the forefront)

Knee - affects the wideness of the threshold (feathers the area)

Question 2

List the 4 main compressor families

Answer 2

Tube

Optical

FET (field effect transistor)

VCA (voltage controlled amplifier)

Question 3

What are digital reverbs?

What two aspects are the affects divided into?

Answer 3

Stacked digital delays that allow minute manipulation of parameters through space (include many aspects of different reverbs)

Early and late reflections

Question 4

What are convoluted reverbs?

Answer 4

Use Impulse Response (IR) to record the transients of a sample and process reverb onto the desired track with the transient “peaks” adding extra modulation

(EX: you can load a drum track into the reverb and the transients of the kick and snare will create extra effects on top of the general reverb of the room used)

(Ableton’s Hybrid Reverb combines digital and convoluted reverbs)

*used for sound design

Question 5

For reverb effects - what does the “attack” parameter control?

Answer 5

The feeling of being closer or farther away from the source (fast attack = closer)

Question 6

What does non-linear mode decay mean for reverb?

What parameter controls the decay in non-linear reverb?

Answer 6

The decay will sustain (be the same for a set amount of time) then end abruptly (instead of a gradual trail off)

The SIZE controls decay length (not the actual decay parameter)

*can give elements small bursts of energy

Question 7

What are the attributes of a tape delay?

Answer 7

Gives a little distortion to each repetition. Adds a little modulation in pitch and timing to emulate the natural imperfections

(Ableton “echo” is a tape delay)

Question 8

What are attributes of a slapback delay?

Answer 8

Often used in vocals and lead instruments to give more space.

Has 1 or 2 reps at a short time interval (little to no feedback)

Question 9

In delays what does the feedback parameter control?

Answer 9

The amount of output signal that is input back into the delay.

(EX: 50% feedback means the each delay is going to be 50% quieter than the ones before it)

Question 10

When using Ableton Compressor what is peak and RMS mode?

Answer 10

Peak - functions based off the sharp spikes in dynamics (good for drums)

RMS - compresses based on the average of the entire signal

Question 11

When using Ableton Glue Compressor what is “soft” function

Answer 11

Adds some soft distortion to make it sound a little more analog.

In activates when you see the “clip” light flashing

Question 12

What does a gate do?

Answer 12

Attenuates/cuts out the signal that is below a certain threshold.

Question 13

Describe the following parameters for gate effects:

Return
Attack
Hold
Release
Floor

Answer 13

Return - allows a separate level that the volume must fall BELOW in order to be attenuated (at 0dB the return is the same as the main)

Attack - time it takes for the signal above the threshold to reach full volume (slower attack dampens overall volume)

Hold - how long it holds the overall signal after it reaches the threshold (higher hold reduces the gating effect)

Release - how long it takes the signal to drop down to the designated floor volume (longer release reduces the gating effect)

Floor - the volume that the gate drops the attenuated signal to

Question 14

When using side-chain compression if you hear clicks in the audio due to abrupt signal drop what parameter should you adjust?

Answer 14

The attack of the compressor

Question 15

How to utilize side chaining with the gate effect?

Answer 15

The gate will affect the audio based on the side-chained signal, creating a rhythmic effect based on the rhythm of the side chained signal

(ex - if you side chain a sound to a snare - the gate will play the sound every time the snare hits but attenuate the rest)

Question 16

When using gate on a track and it cuts out some wanted reverb what is one way to make up for it?

Answer 16

Send the channel to a reverb return track

Question 17

What is the benefit of using multiple instances of a compressor on a track?

Answer 17

Can divide the attenuation load and fine tune the compression more

EX: 1st compressor on “peak” mode to attenuate the spikes
2nd compressor on RMS mode to balance overall dynamics

Question 18

What is parallel compression?

Answer 18

Using compression in parallel with the original signal, meaning you adjust the dry/wet of the compressor to mix between the original sound and compression

Question 19

For compression - what are the attack time ranges for fast/med/slow

Answer 19

fast - 8ms or less

med - 8-25ms

slow - 25ms or more

Question 20

For compression - what are the release time ranges for fast/med/slow

Answer 20

fast - 100ms or less

med - 100-400ms

slow - 400ms or more

Question 21

When setting EQ parameters in a compressor you are telling the compressor ______

Answer 21

what to listen to, NOT what to compress

*using a hpf and rolling off the low end will tell the compressor to react to the top end of the kick and keep it from overreacting to the low end

Question 22

When only applying subtle effects across multiple tracks how to make sure to hear the differences?

Answer 22

Toggle all compression on/off and do A/B testing

*pro tip - can key map every instance of a compressor (ctrl + K) so it makes it easier to turn everything on/off

Question 23

When using parallel compression - how much signal should you send to your return track?

Answer 23

the entire signal (0db) so you get the full dynamic range and then you can adjust it via return channel fader or utility effect

Question 24

When using parallel compression and using over 50% wet, what do you need to watch out for that would dull the sound of the drums?

Answer 24

Avoid using a fast attack which will cut out the punch of transients

Question 25

For compression you use a _______ attack to keep the transient presence and add punchiness and a ______ attack to even out the overall waveform

Answer 25

SLOW attack to preserve transient presence (25ms or more)

FAST attack to even out overall waveform (8ms or less)

Question 26

Saturators are _______ so depending on whether its placed before/after ac compressor can _________

Answer 26

gain dependent

affect the saturation effect