Gain in compression

[Tadpui]

The input gain is handy when you want to adjust how much gain reduction you're getting. If you want a specific amount of reduction, you can adjust the input gain until it hits that sweet spot that you're after. It's basically the inverse of having a threshold control. You're adjusting the input signal strength against a fixed threshold, instead of adjusting the threshold against a fixed input signal strength.

 

[andrushkiwt]

The input gain is handy when you want to adjust how much gain reduction you're getting. If you want a specific amount of reduction, you can adjust the input gain until it hits that sweet spot that you're after. It's basically the inverse of having a threshold control. You're adjusting the input signal strength against a fixed threshold, instead of adjusting the threshold against a fixed input signal strength.

this compressor has a threshold feature as well. i use it a lot, but find i have it near floored for some things;when it's acting as a de-esser, for one. So yeah, lots of gain control on this stock plug...just trying to figure out what instances are using which parameters. why not turn the fader up instead of increasing the input gain?

 

[Steenamaroo]

It keeps that rise in gain immediately before the compressor.
Depending on how you were routing and how many plugs you were using, lifting the fader might cause problems at other stages in the chain.

That certainly makes sense with a fixed threshold compressor. I might want to jack the input gain through the roof to completely squash something but if I did that with the fader I might be overloading eqs or whatever that come before the comp.
I don't really see a need for input gain if you've got a variable threshold and makeup gain but hey...whatever.

 

[andrushkiwt]

It keeps that rise in gain immediately before the compressor.

ah. like a volume boost AFTER previous inserts, but BEFORE where the compressor is in the chain. so if a previous insert is taking away volume, this will add it back in before the compressor acts on it...? the input gain, that is

 

[andrushkiwt]

The input gain is handy when you want to adjust how much gain reduction you're getting. If you want a specific amount of reduction, you can adjust the input gain until it hits that sweet spot that you're after. It's basically the inverse of having a threshold control.

ehh, throwing me off. "adjusting how much reduction you're getting" and "sweet spot" sounds like threshold to me. Either I need to go back to basics, or something is off.

 

[Brian Miller]

ehh, throwing me off. "adjusting how much reduction you're getting" and "sweet spot" sounds like threshold to me. Either I need to go back to basics, or something is off.

This is where compressors get goofy. Technically adjusting the threshold down or bringing the input gain up will accomplish the same task. But you may find a different character to the tone with one or the other method. More likely you will only hear such a difference on analog compressors or high end analog emulation plugins, not on regular workaday stock compressors.

 

[andrushkiwt]

you may find a different character to the tone with one or the other method. More likely you will only hear such a difference on analog compressors or high end analog emulation plugins, not on regular workaday stock compressors.

Here we go...cool. thank you. Function may be the same across the gain-adjusting settings, but tone may vary. got it. What is your impression of the S1Pro compressor, Brian?

 

[mixsit]

ah. like a volume boost AFTER previous inserts, but BEFORE where the compressor is in the chain. so if a previous insert is taking away volume, this will add it back in before the compressor acts on it...? the input gain, that is

You've got it nailed now. Wow, we figured you didn't have a threshold!

ehh, throwing me off. "adjusting how much reduction you're getting" and "sweet spot" sounds like threshold to me. Either I need to go back to basics, or something is off.

No, you're real close.
I'll toss this in, might help in a few dif ways..
On a comp w/o a threshold (like we were talking about), they set them up- or their 'start point, would be the fixed threshold, and might start compressing a track at in/around 'normal' level.
You'd then raise or lower it's input gain to set the amount of compression. No dif in that respect than moving the threshold on one like you have.

Here's a 'bug I perceive with the 1176' style 'no threshold' comps.
Many times compression is only reducing a relatively small amount of the actual volume of a track. So 'make up gain isn't even needed.
Now take this 'no threshold comp. If you have to raise the input for example to get this same compression, now you have actually raised the track volume! and.. now you actually would need to do yet another adjustment- either there on the comp out level, or somewhere else.
Someone mentioned once that that '1176 style made fine sense- when you ' just grab it with both hands.. in a rack!
In digi plug land, ick. I don't want to have to 'juggle two things (and now add perhaps two lines in the automation..?) Vs give me the one threshold move, and let me get on with 'volume/levels of the track elsewhere- often track level automation for example already in place

All this leads to.. Also, check out pre insert gain leveling automation. Here, you are trimming/fixing how the track sits in the mix, and you can anticipate / use it as an option to how hard various points drive the compressor down stream.

 

[Farview]

The only reason to use an 1176 style plugin is if you specifically want the sound of an 1176. When I use one, it's because I am smashing the crap out of something. Half the time, I have all 4 buttons pushed...

Automating the threshold on a compressor???? I can see bypassing, but changing the settings on a track...?

 

[Brian Miller]

Here we go...cool. thank you. Function may be the same across the gain-adjusting settings, but tone may vary. got it. What is your impression of the S1Pro compressor, Brian?

The stock Studio One compressor is a real workhorse. It has low CPU usage and you can throw it on tons of tracks at the same time. It's very transparent.

-It's great for general level control (like evening out a bass track) and catching transients.

-It is not good for tone sculpting or mix bus compression.

 

[mixsit]

The only reason to use an 1176 style plugin is if you specifically want the sound of an 1176. When I use one, it's because I am smashing the crap out of something. Half the time, I have all 4 buttons pushed...

Automating the threshold on a compressor???? I can see bypassing, but changing the settings on a track...?

4-botton' is about half the use I get out of UA's 1176's. And LA2a, -the two are both about as usefull sound wise , but I use the la2a twice as much simply as it has a threshold'.

And yes, on many-most of my tracks I'll have both track and gain automation. Sometimes.. I get into threshold, mm or ocasionally 'attack maybe in automation.
Out-o whack 'cleanish- or 'shifts in and out of leads'/or distortion' guitar tracks a good example.

Let's just say very often I simply get a hell of a lot more millage out of good old modern plugs that do 99% of the 'sound's' needs, and that include all the tools to do it right there in those plugs, rather than some of these imulations of 'clasics.

 

[Farview]

Aaaah, I will always put clean, dirty, and lead on separate tracks. That's why I've never found the need to automate dynamics parameters.

I use the LA2A on bass mostly. 1176 ends up on drums and vocals. The 1176 distorts well, the LA2A doesn't.