Made Men Feat. KT by 64Productions

Made Men Feat. KT by 64Productions

How much Compression is too much?

While compression can work wonders to add punch and presence to your mix, it can also ruin it faster than you can say "it's destroyed". Below are some guidelines to help you avoid destroying your mixes with too much compression...
Compression typically performs best when gain reduction occurs only where peaks in audio signal are present, even if those peaks occur several times throughout a mix. The idea is to control the peaks in signal all the while having most of the signal remain underneath the threshold and hence, uncompressed. Optimum gain reduction occurs once you have achieved this type of balance.
If the compressor is always attenuating (gain reducing) the signal you feed it, you are not achieving optimum gain reduction. This is where compressors start to ruin mixes with what is called pumping and/or breathing.
Pumping and breathing occur when so much of the signal is crossing the threshold that the overall volume of the signal is reduced entirely! Once the dynamics and/or peaks in the original signal soften & go back underneath the threshold, the volume actually becomes louder again due to the original signal recovering from excessive compression!
Compression is a powerful tool: Abuse it, and compression will ruin your mix. Treat it with respect, and compression will enchance your mix!

Secrets to a Platinum Vocal Sound part two

 Vocal Compression Techniques: With compression, you are seeking to even out inconsistencies in volume levels while at the same time trying not to destroy the natural dynamics inherent in the vocal performance. The trick is to set your compressor with a high ratio of 5:1 to 8:1 with a semi-fast attack and a medium release time. Most important is your setting of the compressor's threshold: Set your threshold level where gain reduction occurs only for the loudest volume peaks in the vocal recording. This will even out level inconsistencies all the while retaining natural vocal dynamics.

Secrets to a Platinum Vocal Sound part one

 Microphone Techniques: In order to achieve a professional high fidelity vocal recording, using a condenser mic along with a good pop-screen is the only way to go. Condensers capture vocal resonance and vocal frequency spectrums far better than dynamic microphones. Also, before recording, be certain to switch the mic's settings to the cardioid pickup pattern with the high pass filter enabled to remove low end rumble from the source recording signal. Vocal EQ Techniques: If proper microphone techniques have been implemented, a minimal amount of EQ should be needed. However, if you find the vocals could still use added clarity, try boosting 1-3 decibels between 5khz - 7khz. If you're needing an extra airy texture added to the vocals, try boosting 1-3 decibels between 10khz-12khz. Also, any low frequencies 100hz and below should be rolled off and/or high-passed to add further low end control to your overall mix.

Reasons compared to FL Studio

The new Reasons 5 is a complete production program with live sampling,it also has a mpc like drum machine called the kong Drum designer. It will take your creativity to unlimited hights,and quality.I like the work flow of Reasons 5,you can produce a beat in minutes the way Reasons is set up. You can toggle to the back of Reasons and wire your instruments and effects manually.It also looks like a studio rack set up.Now in Reasons you can record and edit your sample in wave form.For me I like to use a midi controller to give it a live feel,but you can operate it like FL studio.It all depends what is best for the user,to me it feels like you have to go through more steps in FL studio than I have to in Reasons to produce.I'm not putting FL studio down,it is a great program and I have heard some great music made with it. Reasons is formated more to the way I like to work.FL studio has a ton of vst instruments and effects for producing and tweaking you projects.