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Using compressor logic pro x free. Mastering 2-Bus Compression With Logic Pro's Compressor

 

This tutorial breaks down the most important parameters to pay attention to, with a bonus VoiceOver quit tip thrown in as well. Compressors are generally used to control dynamics, or put simply, to help level the audio out. It does this by pulling the loud parts down so that its closer in level or volume to the quiet parts. This allows the audio to sound more even or leveled. This is useful in a busy mix, where you have a-lot of elements and having each element leveled out helps it to be placed better in the mix.

As you will hear in the example, the parts that are sung quietly can get lost in the mix. It also makes it difficult to set the volume fader on the track to the right level so that the vocals are heard fully through out the song because of how much louder the loud parts are over the quiet parts.

Now you may be asking what about automation or region gain to even out the volume differences in the vocal? While Automation and region gain are useful tools, they only would take care of the leveling part. A compressor also imparts certain characteristics to the audio that can emphasize things. It can make it sound as though the singer is putting that much more emphasis on the words or as if the drum is being hit harder. Automation is more useful towards the end of a mix to fine tune the final levels of the track faders.

Using the peak meter on the channel strip in the mixer, we can get a rough idea of the dynamic range. Put another way, seeing what the quietest part peaks at, vs the loudest part. The peak meter just lets us know what is the loudest our audio gets and only updates when a new louder value is reached.

This info is useful so we can get an idea of where the compressor may actually start working on our audio. Over time, as you start to hear compression better, this may not be as necessary a first step.

So speaking of threshold, this is the first parameter in the Logic compressor, and is probably the first one you will want to adjust as it will determine if and when the compressor will start affecting our audio. Whenever the audio crosses the threshold the compressor will act on it, and the compressors behavior is now determined by the other main parameters. If the threshold determines when the compressor kicks in, the ratio will determine how much it does kick in.

And so on, and so forth. So you can think of the relationship between the threshold and ratio this way. A lower threshold subjects a wider range of your audio level to compression, while a higher ratio causes a more drastic compression effect. One of the nice things about the Logic compressor is that it also has emulations of vintage analog compressors included.

These are less trying to be accurate point for point emulations of these vintage classics, but more about imparting some of their tonal qualities and characteristics on your audio. This determines how quickly audio will go from no compression to the compression amount determined by the ratio when the threshold is crossed. As this is in milliseconds, the smaller the number, the faster the attack. The release time is the opposite. It determines how long it will take the compressor to go from compressed audio to uncompressed once the signal falls back below the threshold.

Longer release times can add a sense of sustain as if notes are held longer etc. The Logic compressor has a lot more to it and is very full featured. For example there is some built in saturation, a limiter and both an internal or external side chain. So As you can see, a lot more than we had time to get to in this tutorial. If you would like a deeper dive into the Logic compressor, and to see how to dial it in on specific instruments, book a one on one training session.

In the lesson we can load up a project you are working on and go over how to use it on the tracks you are currently working on. And if you are new to EQ as well, then check out this tutorial on the [basics of EQ.

Published in effects , GarageBand and Logic. What is a Compressor? The different types of Compressors One of the nice things about the Logic compressor is that it also has emulations of vintage analog compressors included.

Famous for maintaining a natural sound, even when pushing the compression hard. Famous for cohesion and clarity on Submixes or the MixBus. Famous for its character and punch. Famous on Vocals for its smooth, natural, musical compression. The Other Stuff The Logic compressor has a lot more to it and is very full featured. Like this: Like Loading

 

Using compressor logic pro x free -

 

Main parameters: The bulk of the interface contains the meters and Threshold, Ratio, Knee, Attack, and other controls. See Compressor main parameters. For example, if you have something like a tape machine, you can add it with your favorite settings on every bus group, so you can always reach them with just a click.

Then, you can start mixing with those plugins bypassed, and you can open them when you need. There is a stereo out bus; why would I use a mix bus? Good question. I use it for a couple of reasons. Sometimes I need to send the whole mix to another bus group to parallel process it, or I can put some weird effects on it and dial with the mix.

So you can do that with the Mix Bus group. Also, I always use a monitoring plugin on my stereo bus, which decreases the volume. I always keep an eye on my mix bus, and I put my limiter on the stereo out when I need it.

So, the groups work like this: the channels routes to bus groups, and the bus groups routes to mix bus. Then the mix bus goes to stereo out. I realized that I almost always tend to use a compressor on my mix bus to get the most energy from the mix, so I put a compressor on the mixing template. You have to listen to the song and dial the settings of the compressor to your likings. The best way to do this is to take the threshold all the way down to where it compresses around dB.

And change the attack and release parameters there. When you find the best settings for your mix, take the threshold back. There is no rule for that, but around 3 to 4 dB will be nice. I also use the mix knob, so if you use it like how it is, you will do parallel compression.

And we came to the fun part, the effects! I have too many buses ready for most of the situations. Those effects are enough to give me what I need quickly, but I always edit them later.

Details always come later in the mix for me. The Compressor's Dual Mono mode allows for independent detection and parameter values for left and right sides or mid and side channels. Independent detection is critical for sensitive 2-Bus processing where you don't want the summed signal triggering both sides equally.

In addition, filtering the detection circuit further refines how and what is being triggered by the Compressor. We hope this gives you a starting point for using vocal compression in Logic Pro X.

These settings were created to serve as a universal template for any spoken vocal studio recording, but feel free to change them to suit your application. If you found this helpful, leave a comment, and follow us on Twitter , YouTube and Instagram. Save my name, email, and website in this browser for the next time I comment. Notify me of follow-up comments by email. Notify me of new posts by email.