When online mastering , gluing the sound together is one of the most common ways to introduce compression. By extending the release time, multiple transients are compressed together, resulting in glue compression.
The master has the advantage of sounding cohesive, but we need to be careful because changing multiple transients can change how the track is perceived to be timed.
To do this the correct way, we want to time our pressure with the BPM of the track. Therefore, if our BPM is 140, we can divide 60000 by 140 to obtain the millisecond equivalent of one quarter note; 429 milliseconds equals one quarter note in this example.
The value of our attack time can then be subtracted from this number, and I can use this value as the release time by multiplying this number by four to obtain one complete note. To better understand this, let’s say we use a release time of one second that is not in time with our track. The signal will then sound amplified in comparison to what was just attenuated whenever it returns to unity.
To put it another way, it will perform a function somewhat comparable to that of a transient: if this return to unity occurs out of sync with the track, we run the risk of seriously affecting the master’s perceived dynamics and timing.
As well as timing our delivery time, we can utilize a blower that grants a particular tone to the sign – this implies a blower that presents sounds and perhaps some unpretentious leveling. Variable compressors, also known as Vari-mu compressors, are therefore preferred by many engineers.
Making Straightforward Dominating Pressure
Some of the time while presenting pressure, you would rather not make a brilliant sound – or even have the option to tell that the blower is there by any stretch of the imagination.
When this is the case, we should use transparent, clean compressors with in-time settings that quickly return the signal to unity without causing distortion.
We should utilize this free module – Tokyo Day break Lab’s Kotelnikov, to present straightforward pressure.
It allows us to implement both peak-down and root-mean-square (RMS) detection, which averages the incoming signal to determine its average loudness.
It will result in compression that is more transparent; notwithstanding, it might let clearly tops through, so we might need to track down a decent harmony among top and RMS discovery, and focus on when the sign is being constricted.
We’ll want to set an attack time of no more than 10 milliseconds and a release time of no more than 50 milliseconds because faster times can cut into a transient and cause harmonic distortion.
This is perfect to have the drifters stick out, yet it’s not helpful for clean-sounding pressure.
Moreover, I’ll set the delivery to be in time with the track, like last part, yet rather than an entire note, I’ll utilize a 1/sixteenth note. Divide 60000 by the BPM, then divide by 4, to arrive at that number.
In conclusion, we’ll need to set the sound system awareness toward the middle or mid-picture – this way we’re distinguishing and influencing where most of the expert’s energy is.
To ensure that we don’t compress more than 1.5 dB, be sure to set your threshold carefully and use a low ratio.