A slow release will cause your compressor to stop attenuating gain slowly once the signal returns below the threshold. You can use the 1176 settings as pictured above or use them as a starting point and dial in the exact amount of compression your vocal track will need. It can be used either transparently as a leveller (with long attack and release), as a compressor to add glue (slow attack with fast release), or as a limiter (fast attack and fast release). With the Slow attack and fast release, the transients will come through without over compression, and the fast release will keep the music from pumping after an attack. For example an acoustic guitar getting lost in a dense mix. Slow Attack. How To Use Multiband Compression For Audio Mastering ... A slow release time gives instruments more sustain. If your attack is a bit too slow, you'll have a bit less control. As rap vocals are aggressive ones, you should always apply fast attack time to your compressor so that it could come into the process as soon as possible otherwise you can end up with some part of . At this point we have successfully explained how to use and configure the Compressor plugin in Studio One 4. Note the . The attack knob works similar to the attack knob on a 1176 which ranges from slow to fast. New models like the Manley Variable MU (see picture above) feature not only an attack knob but also a release knob. A good place to start with vocals is a slow attack, slow release, 2:1 ratio and adjusting the threshold to the level where you want your compression to act. It has a fast 10 ms attack time, and a characteristic two-stage release that has a medium fast onset and then a very slow tail. First the Bluey all buttons in, fast attack, fast release, just touching the loudest peaks. Try to get the compressor pumping in time with the music. The original hardware that inspired the CLA-76 is known for its superfast attack time of 50 microseconds, capable of dealing with the fastest transient material. A fast attack and / or release time can create distortion, so avoid. Conversely, the Release control sets the time it takes for the 1176 to return to the original signal level. The expander/gate section has three attack time choices: 2 ms, 40 ms and 20 microseconds. The most classic use of Mu is in mastering: it brings the discreet "polish" and "glue" to subtly warm up any mix. This all helps smooth out the vocal performance and sounds more natural to my ears instead of having one 1176 do all of that. . A slow attack time lets the transients of the instruments through. A fast attack and slow release will cause more compression, and smooth out the vocal. Take a listen below. Send that attack-heavy sound to a reverb. When you hear it, you know it. Use a fast attack time for thick, heavy vocals and a slow attack time for punchy, aggressive vocals and do this whilst listening to the whole track, not just the soloed vocal. The key is setting the attack and release times appropriately. Attack and Release Can Have Consequences on Your Compressed Audio. Output gain has a range of 0 to +24 dB. If it has a slow 'attack time', you'll feel the bump before the springs have had time to absorb the shock. Vocals. However, I'm eyeing Arturia's Comp TUBE-STA, which emulates the famed Gates STA-Level. I use two in series. Top o' the snare was an I5 aimed down the side of the shell, also into the 2108 and MC77 at slow attack, fast release, 4:1, 3-5 db reduction on hardest hits. For a kick and snare you want instant attack and fast release (50-80ms or so). If I'm feeling really adventurous I might even drive the input of the plugin and bring down the volume on the output. ATTACK- (for rap 3-7). You can use the parallel-compressed signal to help the piano poke through the mix and trigger a splash of reverb. The 1176AE features a fixed 10ms, super "Slo" attack time — perfect for adding "punch" to your sources. It should sound choppy (on purpose for now). Listen to the two examples of short and long release on this vocal sample. fine-tuned, master-quality feed-back style dynamics control with slow attack and fast release, perfectly suited for 2-mix or record/broadcast feed 38 P.Lyman_MBCPRE 3 Pete Lyman fine-tuned, master-quality feed-forward style dynamics control with fast attack and release, perfectly suited for 2-mix or record/broadcast feed 39 P.Lyman_MBCPRE 4 . One final tip here is to spend plenty of time adjusting the attack and release settings until you're happy with the vocal tone. It would probably bring the track forward a little bit too much. We let transients through with a Punch setting of 3.2. The attack and the release will have a subtle effect on the qualities of the vocal. We set Analog to 1 again and stop the mix knob at 75. Set your release time very slow, then gradually increase it until you can feel the compressor "breathing" in time with the song. EQ fixed on vocal key frequencies. Find the Hyperpop sound you are looking for in seconds. A fast attack (8 ms or less) makes your sound tighter and more even. But if you don't have a specific reason to use a fast release, stick with one that's moderate or slow. Slow Attack Time - Slow attack time emphasizes the consonants of vocal and make it brighter, add articulation and clarity in the vocals. This plugin has a good peak reduction which ranges from 0 to -64 dB. Intelligent Dynamic Processor (IDP). Focused on the duo synth / brass and treated the brasses . However, a slow release can sound smoother and slower, which is great for more subtle applications. But if your drummer played unevenly, that'll be accentuated. The slowest setting is at 7 o'clock and the fastest at 5 o'clock. Should you choose to use an attack with 0ms, you may well affect the shape of the waveform itself rather than bring the peaks down.. Using a fast attack time can easily lead to an over-compressed, lifeless vocal. Mastering . Fast Release. Drag and Drop the Compressor audio effect on top of the audio track labeled as "1 Audio". " CLA-76 has been part of my vocal chain since it came out. Fast release times are additionally nice for rising the perceived loudness of a track. Next, I compress 3-6dB with a slow attack, and use a fast release setting to give the vocal some more dynamic consistency. Slow attack is used to keep the transients and push the tail of the timbre down. Fast attack time is perfect for slow genre vocals. Chorus effect on the brasses . A slow Attack setting might also allow a transient to overload the next plug-in or piece of equipment in the chain with an uneven mix. 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