Compression again...

  • Thread starter Thread starter Rokket
  • Start date Start date
Rokket said:
That sounds like solid advice, Glen. I'll have to see if Reaper has that feature. I've never looked because I didn't even know you could do that! :o
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I'd be real surprised if it didn't; this is a fairly basic DAW software feature. It could be called "locking" or "freezing", but regardless of it's name it has been in every make of DAW software that I have used.

I looked in the online wiki (UGH! :rolleyes:) for Reaper, and the only reference I found was as a feature request. But I have no idea if that's up to date or not. Plus the search function in the wacky wiki woowoo software is even worse than the search function in your average BBS so I have no idea what I missed.

G.
 
I haven't gotten around to "locking", but you can APPLY EFFECTS AS NEW TAKE in Reaper. This will render down the track with the effects and put it on a new take next to the original track. you can switch between each take by clicking on which one you want.

This may be close, or the same thing.
 
Sloan said:
I haven't gotten around to "locking", but you can APPLY EFFECTS AS NEW TAKE in Reaper. This will render down the track with the effects and put it on a new take next to the original track. you can switch between each take by clicking on which one you want.

This may be close, or the same thing.
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It's essentially the same thing. With the "locking," it essentially creates a new track, which only exists in temporary memory unless you choose to save it that way (in which case it merely replaces the original).
 
Daisy said:
It's essentially the same thing. With the "locking," it essentially creates a new track, which only exists in temporary memory unless you choose to save it that way (in which case it merely replaces the original).
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You're right in that the end result is basically the same - though the work flow is just a little bit different.

Not to pick nits, but for most NLEs when you lock a track it will render a temporary file to disc, not to memory. When you unlock the track, the software simply switches back to the original file with the live effects. If you re-lock, the software writes/renders another temp file. But the original file is never touched or physically replaced unless you specifically tell the software to render or export a track to a file of the same name as the original. And even then it will ask you if your sure you want to overwrite the original.

G.
 
Hmmm...dated July 9th. We seem to have the power! :eek:

Let's see...what should we wish for next? (Don't blow that wish on anything having to do with audio, for god's sake! :D)

G.
 
Comp, esp as a VST, can be addictive can't it?
I found, a couple of months ago, that I was dropping Blockfish on almost everything - and more for the gain than the comp - disasterous!!!
My last little thing in the MP3 clinic only has comp on the mandolin - I was all over the place with volume as I'm not used to playing mando & swayed away from the mic occassionally too. As I had it up & down & in & out so often I'd adjusted/automated the faders (I had a DI & Mic track of it) in heaps of detail & although I started to readjust them all I knew I just wanted the whole track done so I popped on some comp but virtually 0'd the gain so that it did it's job & evened out the dynamics nicely. After that I stayed away from comps for the track & lightly put the Classic Limiter across the stereo mix as I didn't want to start a volume war in a folk track.
I probably did things arse about but at least I've learnt one thing comp shouldn't be used for.
 
Sloan said:
Haha. check this out, the latest version of REAPER:

- Per-item locking


here's the whole changelog:
http://www.cockos.com/reaper/download.php?l=2
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Cool. Piplineaudio told me about that in the Reaper forum on here. I posted a question about locking the tracks to him.

Unfortunately, I'll have to wait a couple weeks to do anything about it. I still have version 2.0 and haven't been able to upgrade. I won't be home until the end of July to download the newest version.
 
rayc said:
Comp, esp as a VST, can be addictive can't it?
I found, a couple of months ago, that I was dropping Blockfish on almost everything - and more for the gain than the comp - disasterous!!!
My last little thing in the MP3 clinic only has comp on the mandolin - I was all over the place with volume as I'm not used to playing mando & swayed away from the mic occassionally too. As I had it up & down & in & out so often I'd adjusted/automated the faders (I had a DI & Mic track of it) in heaps of detail & although I started to readjust them all I knew I just wanted the whole track done so I popped on some comp but virtually 0'd the gain so that it did it's job & evened out the dynamics nicely. After that I stayed away from comps for the track & lightly put the Classic Limiter across the stereo mix as I didn't want to start a volume war in a folk track.
I probably did things arse about but at least I've learnt one thing comp shouldn't be used for.
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I was trying the compress for the gain trick too. Silly me. My mixes were louder, but sounded like shite when I played them in a cd player or stereo...
 
Regarding use of compressors, besides using them only as a tool like a hammer they can also be used as a paintbrush. Some of the most sought after compressors like LA-2A have very few controls but add a desirable character.

In fact, I think you'd find that most big producer/engineer types choose a compressor just as much or more for the sound than the utility of reducing peaks 5dB or something.

Often the "incorrect" use of a compressor like pumping and breathing are used for effects like smashing the heck out of a drum room mic. Two different compressors with the exact same settings will sound drastically different in this application.

Or you can use them not so much to reduce peaks but to alter the envelope. For example a ringy drum can be made less ringy by setting a long enough attack so the drum attack comes through uncompressed but the tail (ring) is compressed. Setting a fast attack and release on a clean guitar can give a swelling effect that's desirable sometimes.
 
From what I understand, a compressor can even be looked at as an effect. Each outboard compressor has different characteristics. For example, a lot of drum, bass, and dance music might use heavy compression as an effect. However, in maybe a rock song or other acoustic performance, you would want to use it to smooth out the sound. However: it doesn't make up for inconsistent playing.

I personally use a compressor on my recordings to bring out a nice thwap on my kicks and on bass guitar (almost necessary anyway you look at it) to bring it into the mix. I also use a little bit of compression on rock vocals because the loudness of the singer can very greatly.
 
MCI2424 said:
Probably more true than you know.
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Do'h, ha ha, I didn't catch that Freuding spelling error :D.

But now that you bring it up, have you ever noticed that it's far better to work with a drummer who likes his Bacardi than one who prefers Captain Morgan? Actually that's true of just about all of 'em, whether drummers, guitarists or dulcimer players :).

G.
 
SouthSIDE Glen said:
Do'h, ha ha, I didn't catch that Freuding spelling error :D.

But now that you bring it up, have you ever noticed that it's far better to work with a drummer who likes his Bacardi than one who prefers Captain Morgan? Actually that's true of just about all of 'em, whether drummers, guitarists or dulcimer players :).

G.
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I've had to work with a couple who loved their coke, and I ain't talking about a softdrink in a red can... :rolleyes:

Nothing worse than a coked out drummer in the middle of the set, when you are trying to do some ballads so the folks can slow dance...
 
Rokket said:
Nothing worse than a coked out drummer in the middle of the set, when you are trying to do some ballads so the folks can slow dance...
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Yeah, nothing like a cover of "Georgia On My Mind" done at 275BPM :D

G.
 
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