How To Really Use DSP Compressors Live

Tips and advice for getting the most from Scope. No questions here please.

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dawman
Posts: 13066
Joined: Sun Jul 24, 2005 4:00 pm
Location: PROJECT WINDOW

How To Really Use DSP Compressors Live

Post by dawman » Tue Feb 06, 2018 7:07 am

I’ve always assumed Compression is for recorded audio tracks during mixdown.
So I rarely used it as an insert on Channels/Busses.
I now realize how wrong I was.

Here’s what I recently discovered, and how I can still maintain proper volumes.

Using ASIO Instruments like a Kontakt, UVI, PLAY, Zebra2 HZ, Omnisphere/Keyscape and PianoTeq Pro 6, you attach controllers to CC# 11 for respective MIDI Channels.
Find your lowest level (usually 65) and your highest level (90-105) that hits a couple of yellow LEDs in your Channels VU.
Do this for all ASIO Channels.
Now use various Compressors.

Stock S|C Comps are good because of the Threshold adjustments and make up gain.
Their attack is slightly mushier/less punchy than 3rd party or Vinco.
These are great for Strings, including Guitars (except distorted electric) Orchestral and Piano.

dNa MultiComp is perfect for instruments like a Hammond B3, or other Additive Synthesis where wide range of frequencies are modulated.

Vinco is just punchy and adds Juice to sampled Horns.
For example my Baritone Sax never had an attack I liked but the sound emerged after so many msec.’s.
Now it belches like a Louissianna Bull Frog.

But back to mixing in the ASIO App.
Low and high levels there come before the comps, so getting things to clip and backing off slightly is what sounds best.
This takes me to a Scope Mixers Trim to hit the 2nd yellow LED.

Now adjust the comps.

But damn, I just lost my Horn Swells, and Hammond B3 swells I had on my Expression Pedal/faders.

Answer to that was assign an additional CC# to Scope Mixer faders.
So now I have ASIO with less dramatic dynamics in volume due to channel comps, but the mixers faders are my make up gain.

All instruments sound fantastic.
I’m mixing on my miniature Live Stage Monitors.

This is why time off is so valuable.
Life must be fine tweaked..

Below is the Physis K4 Expression Pedal Controller view.
Top 2 slots and Bari and Tenor Saxes.
Then Trombones Trumpets, all controlled using CC# 11 in Kontakts Mixer.
Bottom slot is Scope Mixer Channel.
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dawman
Posts: 13066
Joined: Sun Jul 24, 2005 4:00 pm
Location: PROJECT WINDOW

Re: How To Really Use DSP Compressors Live

Post by dawman » Tue Feb 06, 2018 7:18 am

Here’s the Comps in Scope Mixer.
And various Low Cut, High Cut Filters to tweak the 3.1 Stage Monitor stack.
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dawman
Posts: 13066
Joined: Sun Jul 24, 2005 4:00 pm
Location: PROJECT WINDOW

Re: How To Really Use DSP Compressors Live

Post by dawman » Tue Feb 06, 2018 7:20 am

The powerful 3 way stereo Spacestation by Aspen Pittman with the B1200D 12” Sub on bottom.
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dawman
Posts: 13066
Joined: Sun Jul 24, 2005 4:00 pm
Location: PROJECT WINDOW

Re: How To Really Use DSP Compressors Live

Post by dawman » Tue Feb 06, 2018 6:59 pm

Just now discovered how the Transient Designer can make my Baritone/Tenor section skip right over the initial attack which claims its recorded that way for “realism” when actually a Reed Player trying to get some bark out of their Bari hits the Reed like an explosion, not some “breathy” attack.
I chopped that right off by inserting the Transient Designer pre AUX, then post EQ/AUX placed the Compressor.
I chopped off that Kenny G. Fu-fu fluff so this Bari just blasts away.

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