![]() I typically use an 1176 emulation, such as the T-racks Black 76 by IK Multimedia. So let’s grab a compressor.įor this trick, I like using a compressor that has a very fast attack time. But if the part has a lot of pronounced transients that might not be enough.Īnother way to create an illusion of distance is by getting rid of that initial transient. You can reach for reverb, get rid of some high-end, or boost the mids and turn everything else down. To make things sound like they are far away there are a few things you can do. While that can be just part of the song, other times it’s an issue that needs fixing. Sometimes I get guitars that sound like they are punching straight into your eardrum, or they sound like there is a mile between the cabinet and the microphone. What I mean by determining instrument placement is making things sound close by, or far away. Determine Instrument Placement With Compression The attack time of 30ms ensures that the first 30ms of the signal is not completely squashed, which basically creates a peak in the signal. This trick works because I’m artificially creating a transient. I typically compress with no more than 3dB of gain reduction. ![]() I set the ratio on either a 2:1 or a 4:1 ratio because I don’t want to completely squash the signal. I turn up the attack time to 30ms and set a fast release of 100ms. I gravitate towards that compressor because it gives me a lot of control over the attack time, which is essential for this trick. ![]() I typically grab a VCA compressor, such as the SSL Native Bus Compressor. But that’s not what I want – I want my rock guitars to sound like they’re hitting you hard, so I use compression to do this instead. There are usually no distinctive transients thanks to the distortion as well. Distortion adds a boatload of compression to the signal, greatly reducing the dynamic range and making the waveform look very flat. When I mix a heavy rock track, the guitars are usually very distorted. However, the principles I share in this article also apply to the stock compressor that comes with your DAW of choice. ![]() Quick note: I’m mainly using analog emulations because that’s part of the feel and sound I’m going for. Let’s go! How Do I Use Compression On Electric Guitars? Often articles and videos that focus on compression for guitars will look at how compressors work in general, but not so much why you should use them for guitars.īut in this article, I’ll be showing you how I typically use guitar compression in my mixes, and why I make the decisions I make. You need to learn about attack and release times, ratios, knee types, thresholds, and then get a feel for how these settings affect your playing. SpecificationsĢ X PARALLEL ¼” INPUT JACKS FOR ‘DAISY-CHAINING TO ANOTHER 16 OHM CABINET (TOTAL LOAD = 8 OHMS)Ħ9.5 X 68 X 37 CM (27.36 X 26.77 X 14.Compression for guitars has always been one of those subjects that is hard to wrap your head around. CLASSIC ORANGE STYLINGįinished in our legendary livery dating back to 1968, the CRPRO412 features our basket weave vinyl, woven speaker grille cloth, signature ‘picture frame’ edging and 18mm Birch ply construction. Our own custom designed speakers deliver the perfect balance between modern low end punch and vintage highs, maintaining clarity even when pushed. Our commitment to using the highest quality materials ensures that the CRUSH PRO 412 is a choice not a compromise. Its high power handling makes the CRPRO412 an excellent pairing for virtually any Orange head, although its crisp voice really suits the Crush Pro Range, Terror Series and TH heads. Featuring an 18mm birch plywood shell, loaded with a quartet of our custom designed 12” ‘Voice of the World’ speakers, the CRPRO412 delivers a full and punchy bottom-end, creamy mids and sweet highs. Designed as a smaller, compact alternative to our flagship PPC412, the Crush Pro CRPRO412 exudes the same rugged construction that makes Orange PPC speaker cabinets some of the most coveted in the music industry today.
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