![]() ![]() I’ve gotten the best results keeping the threshold all the way down at its minimum, and the ratio between 1.1 and 1.25. ![]() For a quiet ballad, much longer attack and release times will probably do better. For up-tempo, aggressive wall-of-sound music a 1ms attack and 10ms release might work just fine. I usually start out with fast attack and release times, although whether that’s appropriate or not depends greatly on the material. Use it lightly, much as you’d use a normal “glue” 2-bus compressor to help the mix gel and/or maximize volume. The easiest application, and perhaps biggest bang for the buck is simply inserting MSpectralDynamics in front of the limiter on the master bus. I’m finding new applications all the time. Hopefully, though, it’ll inspire you to explore other, perhaps more creative and less-obvious applications. This is by no means an exhaustive list of things you can do with it, only some of the stuff I’ve had the best success with. ![]() OK, now that you’re familiar with most of the controls and what they do, we can get to the fun part: what you can do with this amazing and versatile plugin. ![]()
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