Are You Using the Wrong Compressor? Compression Masterclass

Descripción:

0:00 - What is this video about 0:50 - FET / 1176 2:35 - OPTO / LA-2A 4:30 - TUBE 5:30 - VCA (My favourite) 7:47 - Transient Shapers 9:19 - Let's have a chat! This video will help you understand the differences between FET, Tube, OPTO and VCA compressors. There are lots of audio examples and I tried to keep the talking to a minimum. I have put lots more information about each type of compressor below! These are bold compressors with fast attack times. FET compressors are not subtle and usually lead to an obvious and familiar tone. Be careful with those fast attack times, it can be best to start off with the slower attack times (still very fast at 800 microseconds). Some famous examples include the UREI 1176 (especially revisions C, D and E). Try using a FET compressor to tame the transients of a vocal or instrument during recording and follow it with a slower and smoother compressor such as tube or optical. Some of the first compressors used tubes (or valves) to control the gain reduction. They typically have slow attack and release times so preserve transients well. They are often described as "muscial" and "warm" due to the obvious colouration/saturation they provide. Often a tube compressor (or pre amp) can be an effective form of EQ due to the dramatic tonal changes they can impart!. Some famous examples include the Fairchild 670 and the Manley Vari-Mu. These have a highly unusual circuit design where the audio signal (as electric current) causes a light to glow at varying intensities. The light is detected by a photocell and the resulting current is used to determine the gain reduction applied. The speed of light is blisteringly fast but the bulb or LED doesn't react quickly to transients. This allows optical compressors to have a unique attack and release behaviour where the release time changes in a non-linear fashion depending on the amount of input signal. Use these gently for transparent compression and general leveling or drive them hard for some obvious pumping and distortion. They are often paired with tube or transistor output stages to add further saturation. Famous examples include the TELETRONIX LA-2A. The most flexible and customisable compression of the 4. They excel equally on entire mixes and can be found in the best mastering compressors and mixing consoles including SSL, Neve and API. Some famous examples include the Distressor, SSL G comp and the API 2500. They are the most common type of compressor because they offer excellent sound, are relatively affordable and easier to maintain with soild state circuitry.