C
CrazyMonkey
New member
On the 3rd tab of the Dynamics Processing effect, there are two seperate Attack and Release settings. What is the difference between the two Attack settings and the two Release settings?
dobro
Well-known member
Cool's compressor is one of its most confusing features, and one that not even people who know it inside out feel confident that they know what's going on with it.
"Just play around with it (especially the top one, the Gain Processor) and you'll figure it out," some say.
"Just buy a plug-in that works and is easy to use," I say. I use the Ultrafunk compressor. It works and it's a snap to understand.
"Just play around with it (especially the top one, the Gain Processor) and you'll figure it out," some say.
"Just buy a plug-in that works and is easy to use," I say. I use the Ultrafunk compressor. It works and it's a snap to understand.
chrisharris
King of Bling
Ultrafunk's easy, for sure. The advantage of CEP's compressors, I think, is that you have the ability to compress AND expand a signal in one process. It squashes the transient peaks, and raises the signals below whatever threshold you set. If you're using ultrafunk, I think you have to have a seperate plugin to do any expansion.dobro said:
But back to the original question...I have no idea. I just jack with it until it sounds good. (no, I'm kidding...hehehehe...little joke for Dobro there). The "attack and release" settings just determine how quickly the compressor starts compressing a signal (attack) and how long it squishes it before it lets it go (release). The longer the release, the more "compressed" the signal will sound...but the smoother it is. The longer the attack, the more transient peaks you'll get, because a lot of signal will go through b/f the compression starts. If you set the attack too long, it'll sound like BADAaaaaaaaaaaaaaa. Anyway, the shorter the release, the more "breathing" you're gonna' get.
The "GAIN" section (1st one) affects what you actually hear the signal do on the way out. The level detector (2nd one) affects what gets compressed to start with. If I mess with the 2nd one at all (the level detector) I set both the attack and release really fast b/c I don't really want the signal distorted before the compression starts, b/c if it is, my settings on the 1st one might become kinda' useless.
Oh, btw...I'm a big fan of the vocal compressor settings in CEP 2.0. They kinda' got their shit together in the new version, as far as I'm concerned.
dobro
Well-known member
That's just about the most useful description of a useful way to approach Cool double-headed compressor I've ever read. Okay, Chris, I'll try it again - it'll be fun comparing it to the Ultrafunk compressor.
C
CrazyMonkey
New member
Thanks for the explanation! So, if I understand correctly, the first attack/release set of controls would be the traditional attack/release found on most compressors, determining how quickly gain is adjusted, and the 2nd set help determine when it kicks in, kind of like a look-ahead time?
chrisharris
King of Bling
Yes...In fact... If you think about it, the actual "look ahead" time parameter (below the 2nd set) can only relate to the second set of settings. (I used the word "set" WAAAAY too much there).CrazyMonkey said:
I might muddy things up here, but I'll try to be brief. If you jack with the "attack" time on the 2nd set (the "input" side), you will "override" the attack setting on the output side. To oversimplify, unless you're doing some extreme things with expansion (like limiting), the "attack on the second one should probably always be set to a smaller number than the attack in the first set.
I'm starting to think that a more detailed discussion on the differences between "compression," "expansion," and the hybrid of "companding" might be in order; or maybe not. I dunno'. If any of this answered your question, I'll just politely shut up now.
