Guitar Fx Box Presets

Compression Hip Hop Beats 101

It has been said before that the recording is an art form. Well, yes. Recording, like anything else has a lot of patience and practice. Most of the tools used in the recording process can be quite simple. You buy a new multi-fx box, plug it in, connect, dial this hall reverb preset and baby .... Yes, this is straight forward. Unfortunately, after buying your new compressor, you plug it in, turn it on .......... and now? Application of compression is a very subjective business. When compression is used correctly is intended to be a subtle matter. Sometimes, the difference between a good recording, and a polished professional, as is the application engineer to compress their tracks.

The magic box

Compression for those who have never used one or even heard of the case, is a necessary evil, I'm afraid. Compression allows us to control the dynamics range of a signal. Compression also fools the ear, increasing the perceived intensity of a signal. By that I mean, it makes the soft parts of your signal louder, to make the highest silent shares, making the signal more consistent. When applied correctly, the compression helps us to strengthen our tracks, making them fatter, and a more controlled dynamic range, helps us to weave all the elements of the track together in our sonic landscape. The problem, however, is sometimes when running a signal through the compressor, by the time you actually hear it working, you may already be in danger zone of over doing it. Think about that one! Moreover, it is worth mentioning that a large number of engineers compress some instruments lead the way to multi-track or DAW. So, turning down the highest shares of their signs, and becoming the shares quieter, then you can increase your level of everyone to the recording device. The mixing engineer will be the application of compression more (trust me) during the mixing. How much compression to add on the front-end will depend on the signal itself (ie, bass, vocals, etc.) the style of music and dynamic range of the signal being recorded. Hopefully the recording engineer will not match the vocal or instrument very hard early in the process recording, as this will leave the engineer lean with a possible train wreck and options at the end.

Aladdin's lamp?

When you think about it, the controls of a compressor are simply asking you, the operator, the basic questions to help you, the compressor, to fulfill your orders and wishes. One of the first questions he is asking is "The ratio of master configuration?" If you are new to compression, and want a hotter signal going to tape or workstation, a safe bet is a ratio of 2:1 to 4:1. There is much in-depth clinical resources the network to analyze what the term "reason" means, but the theory is, the higher the ratio, the deeper the squash. Speaking of squash, the comp / genie now ask when applying said removal, so it's time to get to the control limit. Threshold the compressor says "this is the point that I need you apply this reason I told you before. "When the signal is above the threshold, which is when the compressor will start to kick in.

We need to strike my lord

Genie Then the comp / will ask about the attack and release settings. I think this is where most people are stumped because the controls in our comp / genius, in fact, all inter-relate with each other. If I want to find my perfect time to attack, I will start by setting my control opening (yes, release) to a second half of a second just as a reference point. The control of attack is the comp / genie that is the question "Once the signal goes above your threshold, Lord, that I leave a part of the signal through before I start to shake?" In most cases the answer is yes! With the attack time set in the comp / genie's fastest setting, the signal goes up the moment of its threshold, the compressor will bite with the shark-like precision, which in the end can make the sound signal rather dull and lifeless. Keep in mind here, there is no definition of magic, so you need to use your ears. Slowing the attack, you leave part of you through the signal (in milliseconds, to keep that in mind) before the comp / genie finally kick in. The effect can be down right magical. You can have a meter gain reduction in its box. This equipment will tell you when the compressor is working, and when not. Are you sure that the loudest parts of your signal hits in more than-3db of gain reduction.

When leave go.

I think we can all agree that there is a big difference in the time decay of a note from the bass, the verses ring in a box. Therefore, a release time does not fit all. The setting is the release of comp / genie wondering when to release its control over death signal when the signal falls below our threshold. Again, you need to use your ears. If the signal was compressed quickly, and immediately released, the result would be a very natural sound to say the least. If the signal is low, so if your release is still between a half and a second, depending on the style of music that is being recorded, the release can be good only where it is.

But Where's The Magic Numbers?

Sorry, no numbers magic. But there may be a good starting point. To correct mild compression in the compressor, let's start with a ratio of 2:1, have the musician play with the intensity that he or she will use during recording. Start improving the limit where the meter gain reduction kicks in at not more than-3dB reduction gain only in the high parts that the player is playing. For those who have to have numbers for the attack and the time, I could start with a 5ms attack and use your ears to fine tune from there. Release, I would still set in a second half of a second to start, but ask yourself, is this instrument has a fast decay, or a slow decay. After using your ears to fine tune, if it sounds good, then it is right!

About the Author

Charles Outlaw under the name Outlaw Music Productions has composed and produced original music for Ford Motor Company, BMW, Compaq Computers, GTE to name just a few. For more info on hip hop instrumentals and rap beats please go to href="http://www.outlawmusicproductions.com">www.outlawmusicproductions.com

TESTING Guitar FX BOX 2.6

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