Your compressor’s attack time will affect the consonants of a vocal performance.įaster attack times will pull consonants down.
This can make a vocal smoother and less aggressive. Often times, it can also push a vocal further back in the mix. On the other hand, slower attack times will emphasize consonants. This can add articulation and clarity to a performance. It can also make a vocalist sound like they’re spitting out the words. For this reason, slow-attack compression tends to work well on hip-hop vocals, where clear diction is crucial. Adjust the attack control while listening closely to the consonants. Want more of them? Slow it down. Your compressor’s release time will control how it shapes the tail ends of words and phrases. Time it to the follow the natural dynamics of the performance. Option #1 will bring up low-level details, like breaths and tail ends of phrases. This can make a performance sound more aggressive and passionate. This setting works well on harder styles of music, like mainstream pop and rock. Option #2 will reign in dynamics in a more subtle, transparent way. This can often sound more natural and less processed than Option #1.
#FABFILTER TIMELESS 2 TPB HOW TO#
To learn how to pull off this technique, watch the video below: This approach works well with softer, mellower genres (think folk, jazz, and acoustic). How To Nail The Perfect Threshold And Ratio: Threshold and ratio determine how much compression is applied, and how aggressive it is. Set the ratio to a moderate setting (~3:1). While listening to your entire mix ( do not solo the vocal), pull down the threshold until the compressor starts compressing. Add makeup gain as needed so the vocal doesn’t drop in volume. Adjust the threshold, ratio, and makeup gain until you can hear every word of the performance clearly. If the threshold is down very low but certain words are still getting lost, turn up the ratio. If the compression sounds too aggressive, turn down the ratio. Sometimes, you can hear the compressor clamp down on a vocal when it hits the threshold. This can often sound unnatural and distracting. The solution is to dial in a softer knee. This will cause compression to ease in as the signal approaches the threshold, making the transition from no compression to compression more subtle and less obtrusive. This approach works well on mellower tracks, where transparent dynamic control is often desirable.
On the other hand, a hard knee will make the compressor react more aggressively when a vocal hits the threshold. This can help put a lid on vocals that need to be tightly controlled. While some compressors offer independent control over this parameter, others have fixed knees. If the sound of the compressor kicking in is too noticeable, soften the knee until the problem is solved.įor more on compression, check out 9 Compression Mistakes You Don’t Know You’re Making.Scarbee Jay-Bass KONTAKT Team DYNAMiCS | Feb 2010 | 1.81 GB It’s worth researching the knee shape of your favorite compressors, as this will play a large role in the way they react. SCARBEE JAY-BASS is the go-to source for slap and finger bass. This addition to the “powered by KONTAKT” range of instruments is an expertly played and sampled late 70s Jazz bass. With three pick-up positions and a multitude of playing techniques, SCARBEE JAY-BASS has it all when it comes to slapped and fingered bass sounds.īased on the Scarbee Red Bass, it makes extensive use of the advanced scripting features introduced with the SCARBEE PRE-BASS. Playable in real time – with the exception of cross hammering and trills all of the articulations in the list given further below can be triggered without the need for any keyswitches. Hammer-on & pull-offs are triggered by legato playing and fast grace notes by fast legato playing. A powerful user interface that pushes the Kontakt user interface to its limits: a fretboard display gives an overview of the playing position and for each string what fret and articulation (displayed as a unique symbol) that are used & dynamically updated as you play.
#FABFILTER TIMELESS 2 TPB FULL#
SCARBEE PRE BASS HOW TO DO A PULL UP FULL All four strings sampled, more than 6000 samples and up to 4 velocity layers to capture the full timbre of the bass. Automatic string selection – play and the script selects the most suitable string for you.Each string is monophonic so new notes replace earlier notes, giving a perfectly realistic bass. Use keyswitches to limit the string choice or to move the active playing position (placement of left hand).