Set up a send from your guitar track(s) to the parallel. Create an aux, group or FX track (depending on your DAW, it'll all work the same). I highly encourage you to not use the wet/dry knob, but set it up as a separate track.
What you could also try is a combination: put a gentler comp with a longer attack as insert on the track and a harder acting one with fast attack as a parallel. The goal will make me choose a certain comp and certain settings. And if I compress, I know why I do it because I have a goal: Glue, punch, sustain, movement, excitement, attitude or a combination.
Accoustic fingerstyle professional#
I can get very confused with the different approaches to setting up parallel compression, so I might start by using the MJUC compressor, which I own, and which has a dry/wet mix knob.Sure, but a recording doesn't sound professional just because it's compressed. You have given me some good advice and have given support to Bgood's advice on using parallel compression, so I will experiment with that. Then, approaching the advice with the understanding that no situation is identical, apply the basic principle and tweak to personal taste. A good starting point for a professional sound is to ask a bunch of professional mixing engineers what they would do in a similar situation, then see if there is a basic approach that is common to the majority of these engineers. What do I want to achieve by compressing? A professional sounding recording. Then turn up the ratio until the first LED lights up regularly, the second one maybe on larger peaks.
Start with the threshold set for maximum compression. Auto attack usually, fast if the recording is peaky. Unlike many I also like SSL channel compressors for picked acoustic guitars. Or 20:1 with action only on louder peaks. Either 4:1 with a bit of compression happening most of the time. Try slow attack (still fast on 1176) and fast release. If you want more control, an 1176 emu can work great.
No ratio, attack and release settings to worry about, but a very musical compression that works great on guitars. When using the compressor as an insert on the track, I'd try something like a La3a emu. In this scenario I'd go with a rather higher ratio, fast attack and fast to medium release. And how exactly the compressed signal alone sounds is less important. Two reasons: you can vary the amount of compression throughout the song by automating the fader. What do you want to achieve by compressing? Gently glueing the guitar while maintaining the playing dynamics? Adding sustain? Taming peaks? These would all need different approaches.īgood's suggestion of compressing in parallel is worth trying. I find that in a sparse mix compressing acoustic gtr can really stand out. I should clarify that the style of music is such that the guitar is not playing a supporting role in a dense mix but is one of the main instruments in a sparse mix.So, in a sparse mix you may not need to compress as much as you might need to ride the volume fader I have quite a few plugin compressors, and I am mainly seeking advice on attack & release settings, rather than which compressor I should use. I also have a few tracks with acoustic guitar playing lead guitar melody lines, and again I can’t find any settings specific to this. I often use presets on compressors as a starting point, but acoustic guitar presets don’t discriminate between strummed and plucked. Whenever I look up the subject, the guitar in question is always strummed and not plucked, which is a very different sound with very different dynamics-and compression is all about dynamics. I am looking for any tips and tricks for using compression specifically on fingerstyle acoustic guitar (steel string).
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