Compressor

A) Element
Fast atk speed (10 micro sec - 10 ms)

Pros: -tighten up sloppy performances and make things feel a little more polished.

Cons: -attack time too fast may suck the life out of a performance or push an instrument back in the
mix making it sound farther away from the listener.

- cause audible distortion or artifacts, especially when dealing with bass frequencies. To prevent this,
try using a compressor with a built-in high-pass filter to bypass the bass frequencies.

Slw atk speed (10 - 100ms)

Pros: -making sound bigger and more aggressive.

Cons: -not ideal for controlling dynamics. In fact, slow attack speeds can actually make performance
with uneven dynamics even worse.
Fast release speed (50 - 100ms)

Pros: -increase perceived loudness

-low ratio - grittier and more aggressive

Cons: -extreme compression with a fast release time can cause an unwanted pumping sound.

Slow release speed (2-5 secs)

Pros: -smoothing out dynamic performances

Cons: -If the release time is too slow, a compressor may suck the life out of your performance,
making it sound dull and flat.
B) Approach

1) slw atk + fast release - natural, transparent sound

- dynamics of the performance are preserved while still taming the loudest transients

- Adjust: slw atk to preserve transient, fast atk for more control, see gain reduction meter return to 0
just before each downbeat

2） 2 compressors in serial

- fast atk + fast release + ratio 4 - smooth out peaks and tame transients

- slw atk + slow release (5k) + ratio 2 - sound bigger and fatter, glue tracks together
Example:

1) Drum

More forward

Atk： 30ms

Release: 30ms

Ratio: 2:0:1

Further

Atk： 5ms

Release: 250ms

Ratio: 2:0:1

2) Bass

Atk： 10ms

Release: 300ms

Ratio: 2:0:1

3) Guitar / Keys

Atk: 30ms

Release: 30

Ratio: 2:0:1

4) Strings

Atk: 5ms

Release: 250

Ratio: 1:4:1
Neutron 3

1) Sculptor

-32 bands multiband to remove muddiness, de-harsh

-fast atk for excitement, slw atk for smoothing dynamic out

2) EQ

-Masking reduction (inverse link)

-Sidechain to ext, route to exiting EQ new band number

3) Harmonic excitation (Should not louder than original track)

A） For Functional
- Increase thickness, vibe
- To tame transient - mastering easier
- Gain match (check the output meter)

B) For Tone
- To use multiband to separate the desire outcome
4） Parallel Processing (FX)

- Create FX and send to all musical tracks, except Drum, Prec, Bass.

- Make sure single track all same amount of FX vol. Control this FX by adjusting the FX volume.

A) EQ

- Roll off by using Low / High Pass Filter

- Boost the presence/loudness/vibe area

B) Exciter

- Dial in the desire effect to add thickness

C) Sculptor
- Add fullness (preset)
- To balancing / smoothing out

D) Compressor
- Low threshold to create density
- Atk: 20ms, Release: 100ms, Ratio 1:1
- Switch off automatic gain and increase makeup gain