Start with an attack time of 12 to 22 milliseconds. Shorter attack times will begin to have an impact on the attack of the pick on the strings. Watch for this.
The release time setting will depend wholly on the tempo of the song and how busy the guitarist’s rhythms are. Set your release time too slow and you will find that the compression is still activated when the attack of the next strum or note happens. This has the effect of trimming of the following attacks and transients.
Begin with a ratio of 2:1 to 3:1. Don’t be shy about using subtle ratios such as 1.5:1. Subtlety is golden here.
Ease the threshold setting down until the compressor starts activating on the dynamic peaks of the recording. Don’t put the compressor in a state of near-constant …show more content…
This is a good question. If you don’t understand what different compressors excel at, your ability to bring them to bear effectively will be reduced …show more content…
Convolution reverb
I would suggest that you look into convolution reverb. Although it is processor intensive, it can yield some very realistic sounding reverbs. When using a convolution reverb, you first select and load an impulse file. This file was created by sampling the reverb in a particular room or piece of equipment. These unique reverb characteristics of the sample are convoluted with the audio you feed through it and the result is the impression that you recorded the instrument in that nice cathedral or warm wood room.
Tips and tricks
Here it is. The section of this article where I get to pass on the ultra-useful and sometimes strange bits of information that make life easier in certain situations. I love pocketing tricks of the trade. They are often hard-won and well worth the effort.
If the wire wound strings on the guitar produce too much squeaking when the guitarist moves his fingers to grab his next chord, try using some “Fingerease” string lubricant. This tones down those squeaks and even helps to preserve the strings. Some folks love this stuff. Others hate it. Keep a can of it in the studio and let your clients decide for
The release time setting will depend wholly on the tempo of the song and how busy the guitarist’s rhythms are. Set your release time too slow and you will find that the compression is still activated when the attack of the next strum or note happens. This has the effect of trimming of the following attacks and transients.
Begin with a ratio of 2:1 to 3:1. Don’t be shy about using subtle ratios such as 1.5:1. Subtlety is golden here.
Ease the threshold setting down until the compressor starts activating on the dynamic peaks of the recording. Don’t put the compressor in a state of near-constant …show more content…
This is a good question. If you don’t understand what different compressors excel at, your ability to bring them to bear effectively will be reduced …show more content…
Convolution reverb
I would suggest that you look into convolution reverb. Although it is processor intensive, it can yield some very realistic sounding reverbs. When using a convolution reverb, you first select and load an impulse file. This file was created by sampling the reverb in a particular room or piece of equipment. These unique reverb characteristics of the sample are convoluted with the audio you feed through it and the result is the impression that you recorded the instrument in that nice cathedral or warm wood room.
Tips and tricks
Here it is. The section of this article where I get to pass on the ultra-useful and sometimes strange bits of information that make life easier in certain situations. I love pocketing tricks of the trade. They are often hard-won and well worth the effort.
If the wire wound strings on the guitar produce too much squeaking when the guitarist moves his fingers to grab his next chord, try using some “Fingerease” string lubricant. This tones down those squeaks and even helps to preserve the strings. Some folks love this stuff. Others hate it. Keep a can of it in the studio and let your clients decide for