Okay, so now that we have the basics of our dynamic processes down, compresses our limiters add gates, where are we going to place them? I mean, across a channel across an entire drum kit or across an entire mix? I mean, where are we going to place them? Well, I guess the answer is kind of D, all the above. In fact, there are even more ways to route these effects in parallel, or even in a side chain. And what the heck is that you might be asking, we'll all be revealed in time.

But let's just start off with the basics, the very basics of routing. So let's look at a standard mixer and the most basic compressor that I could I could think of which is just a single channel, compressor limiter made by dbx. 168 has been around basically forever. So this compressor needs to have an input and like we said before, what A signal you input into that compressor, then goes first through the detection circuit to decide whether it is a candidate for gain reduction. In other words, is it above a certain threshold is the nice set Actually, this guy I don't think this guy has has a nice thing. But anyway, I digress.

So the input goes in goes through the detection circuit. If it's deemed to be above a threshold and eligible or gang redaction, then that does the gang reaction, and then that goes through to that output. So where would we place that on a typical mixer? Let's look at a mixer like this. The most obvious place for it to go is to go in line with any particular channel. So say the first channel is a mono channel and that has a kick drum.

So we could place that compressor across the first channel, and we could compress just the kick drum. But let's imagine we had a bunch have different drum channels that were subgrouping that you could then place that compress across a subgroup if you like. And that way you could compress your entire drums instead of just, you know, a single, a single channel. And in the hardware world, this is quite useful, because, you know, every hardware compressor is dollars out of your pocket, you know, it's not like in a stock in the software world. And then the third, you know, typical place you might want to place it is across the main mix. Now, this particular compressor that I've talked about the 160 X would not be a good candidate to go across your main mix because as you know, your main mix is typically left and right, it's a stereo mix.

So you would need a stereo compressor to place that across your main mix. It might look like something like this where you can press it is just Ah, buying this place right in line with a single channel to compress a single vocal, maybe an entire drum kit across some groups here or an entire mix. So how would you route something like this in the hardware world? Well, you would take a cable like this, which is a special cable that has a trs tip ring sleeve on this end and two standard Jacks on the other end, you can use a cable like this to plug into an insert into your mixer. And this breaks basically breaks into your challenge. It's like if I just kept in the middle of this channel, and then had this break this out.

So I could insert something across these guys. So just for fun, I mean, you could, you could put a coupling adapter here to complete the circuit. But the regular thing you would do here is insert something like this like a compressor. And then you'll just have to experiment which jack is which was the input, which is the output, but once you do that, you can then complete those connections. And then now if this was plugged into the insert here, this compressed could be placed right in the signal chain. It's kind of like an old Cool equivalent of a plug in if you want to make.

Now a couple of things to note, this compressor right here is a two channel compressor, meaning that it could either compress two independent channels here, or you could place a crop across a couple of subgroups or even the entire stereo mix. So you can see how you just have a single channel compressor that you could place across one particular channel or a mono subgroup or even just one side of a stereo channel. a better solution, certainly on this on the stereo buss is to have a dual channel which will allow you to link up those two sides. So the detection will be a lot more consistent across the left and right channels, so it doesn't move around your stereo image too much. So you know, having a stereo one for either stereo subgroups or your stereo master buss is where to go. If you need a lot of bank feedback.

They're also multi channel ones like this PreSonus ICP FDA, which gives you eight independent mono compressors, and also has gates as well. So you know, this is a really great thing if you have if you live in the hardware world and you want to independently compress and gate up to eight different devices, you know, something like this, it gives you a lot of bang for the buck. So, do you now can understand that dynamic processes may have a single channel, they may be steerer, or even up to eight independent processes in a single hardware unit. Now, of course, all this flies out the window in the software world. In your computer, you can bring over multiple instances of any of your compressors or any other software plug in for that example. So I mean, over here, if this isn't the hardware world, you know, I save up to buy one compressor.

I can use it once. But in the software world, you can drag that over to any input channel to any subgroup or across the master bus as well. Unlimited only to the extent of the power of your computer. It's pretty amazing feat when you compare that to earlier, you know hardware studios where you could only really afford to buy a few hardware compressors. So no matter where you place your dynamics processor in terms of how you describe on a single channel, on a subgroup or across the master buss, you'll notice that the entire signal is going through the processor, the entire signal of the single channel or the the subgroup or the muchness get, the whole signal comes in trips of threshold. And again, reduction takes place on that same signal.

Now there's another very different form of routing called sidechain. So imagine this is your dynamic processor and like we said before, a million times before dinner process is broken into two halves, the detection side and the game reduction side. So let's imagine we had an input coming in and say it's a Synth Pad, or the detection side would look at the level of that Synth Pad. And then depending on whether that's passed the threshold or not, it would then pass it over to the gain reduction side where all the question or the gain reduction would take place. But what about a different center instead of the detection circuit and the left hand side? Looking at the input?

How about it look at a sidechain input, in other words, a completely independent input. And based on the level of that sidechain, it would then act on that Synth Pad. This is called sidechain compression. Let's see it in action. Okay, here we go. I'm going to use reason and the reason that I'm using reason is that reason has a very good graphical interface that just I find it Very useful for learning.

So here we have a synth, just playing a very static baseline into the first input of this mixer, and then a drum machine, kind of a loop, going into the second input, and advise to play from the top is what it sounds like. So you can see the steps going into one, and the loop machine is going into two. Now, if you flip the rack around, if you've never seen it some reason this will be very interesting. All you need to do is hit the Tab key and bang, you actually see the back of the rack. And then you can move these cables around, you can just grab them and move them anywhere you like. The great thing about that is that you can do some very cool routing, and then you can you can visually see exactly what you're doing.

So let me flip the rack around and we're going to place a compressor across the synthesizer And the way you do that is you just stop shopping in all of your reason devices. And I'm going to grab this compressor. And I'm going to drag it underneath the synthesizer. So now the synth is going to get compressed. And let me just get rid of that. And the routing, as you'd expect has all been done, boy hit the Tab key.

And now instead of the output of the synthesizer, going straight into the first channel, it actually goes in to the compressor. And then the output of the compressor then follows along to that first input. So you can see this compressor has been inserted between the synth and the mixer just like you'd expect it now so if I flip this back around, then if you allow the threshold, then this center would get compressed but the interesting thing about the same thing, the reason I chose it is that very static Sound, it just goes, I just basically drones. And to show how we can do sidechain, I'm going to set this compressor up a special way. So that instead of it's looking at its input in terms of the detection circuit, that's normally how compressed is work, right, we've seen that all the time, is that whatever comes into here, if it passed the threshold, then it will start compressing that same signal, here, we're going to do something different, I'm gonna flip the rack around, and instead of the, the loop machine, let me just drag those out.

So now they're not connected anywhere, instead of them going into the second input and actually hearing them. What I'm going to do is take the outputs of them and put them into the sidechain in. So now what's going to go on is that this compressor is the detection started. This compressor is no longer going to be looking at its inputs. But it's going to be looking at the sidechain input, which is going to be this very percussive loop. So if this all works to plan and I flip this back around, then when I run this, then this very static synth should start getting quite rhythmic because it's detection second is going to be triggered by this loop playback.

And let's see if this is working. We know the threshold and bring up that ratio. Check that out. We now have a synth pop that is normally very static. Let me bypass that. So it's Yes, static is old.

Get out that now when you turn it on, and it has the sidechain input number if we flip that back around, the reason it's bouncing all over the place is because it's sidechain input is being checked. triggered by this loot machine. So now let's look at a very different way of side chain, a dynamic processing in this chart. In this case, it's called ducking, and it's used in public announcements using radio a lot, you will hear this quite often. And in this example, we're going to be using Logic Pro just so we can, you know, I'm really trying to show you how to do these things in several different tools. So you'll get very familiar with how to use this.

And this is another compressor, you you've seen the stuff, here's your threshold, here's your ratio, here's your knee, attack and release your makeup gain all this kind of stuff. It's very familiar to you. So in order to explain this method of docking, which is another type of side chain dynamic processing, I want to transport it away to beautiful Maui, and imagine that we had a vocal announcement. And here's our vocal announcement right here, and it's Telling us all the things we can do. The next day, let me see what it says Hello, and welcome to the Grand Maui resort. Please stand by for this important announcement.

So that's on that track. And then on this track, this is the backing. And you can see that I have it heavily compressed 10 to one ratio, I pulled the threshold down here. So we're getting about 20 dB of noise. So I have a gain reduction on this, this backing. And you can see that this is set up like a normal compressor, it's placed across the stacking background.

This is this music here. It's just like we did in Pro Tools or in reason, you just insert this compressor across this backing. But just like we did in the reason example, instead of this seemed its own input as detection circuit is seeing as its own input, we can do a sidechain here. So it can look to the audio of audio track one right here. And in fact, know what I'm going to do, I'm going to keep this vocal announcement muted. So all we can hear is just the background, and you'll be able to see what goes on.

Because if we go back to the top here, if there's right now there's nothing coming out of his track. So the sidechain here is his detection circuit will not see anything go past the threshold at all. So this will be a full volume. But as soon as we hit this part here, it's going to see a bunch of input in the side chat, and then it's going to compress it like we saw before, probably about 20 db, and it will dock this down. So it's just like you have an automatic fader that every time this comes up here, you just pull us down about 20 db, and then bring it back up and then back down and back up. Let's actually hear this example.

So there's nothing coming into sidechain. It's full volume, check it out now. Boom. As soon as it's receiving the input here, it pulls it down. Now it's back up. Now it's back down.

Let's hear that from the beginning again. And we'll actually hear the the announcement as well. Hello and welcome to the Grand Maui resort. Please stand by for this important announcement. All guests who signed up for the dolphin swim experience need to be ready and by the pool no later than 10:30am. For everyone involved in the fishing launch tomorrow, meet in the lobby at 5:30am.

Everybody go make it a great Tuesday. So all these controls work just like they do in a normal compressor that for example, it right now have about a half a second release so that what that means that as soon as the the announcement stops, it ramps back up takes about half a second to ramp back up. Let's imagine if we were let's just go back and play with this with a very short release time it'll sound very kind of unnatural, where if we do a slower release, it sounds like someone is actually kind of pulling this down, and then bring it back out. Let's play with a release. Hello and welcome to the grandmothers or Please stand by for this important announcement. All guests who signed up for the dolphin swim experience need to be ready and by the pool no later than 10:30am.

Long everyone involved in the fishing launch tomorrow. Meet in the lobby at 5:30am. Everybody go make it a great Tuesday. So kind of a quiet example. But I just wanted to do this one because it'll, you'll hear this next time you hear any radio commercials, things like that you hear this stuff all the time. It's called ducking.

It's really, really useful. Because you know, you can't, you'd like to have this back music up loud, but you don't want to upload when any other vocal announcements so it's great things like station IDs jingles and things like that. So do you now get the idea of a sidechain a normal compressor or a gate since its own input and then processed is that same input? A sidechain is not like listening to this vocal here, but actually listening to another input and then when that across the threshold, I reduced your channel. So, you know, what are some examples of this? Well, you could, like I showed you before, put a percussive sidechain in Put to put in motion into a static Synth Pad, you could duck the whole mix down when an announcer when announcers voice comes up, you could even do the dis engage where you could get an entire horn section subgroup via the lead trumpets sidechain input.

That way the whole horn section only comes through when the lead trumpet plays makes a really, really tight horn section. Now here's a very typical use of a sorry a more common use of using a side chain. I want to give a herd of the dynamic processing called de Esser. As the name implies, it kind of compresses just the SS empties is even listing right now. There's a specific part of a vocal range speech surface we call it fricatives. The special set of of consonants that include SS And teas.

And quite often people will call them sibilance as well. And they can get a little too over the top, some time for some vocal, I picked up this gal she hasn't got it over the top, but she has a few of those SS and T's Let's listen. So if we could reduce those SS and T just a little bit more than that would be a pleasing thing to do and how we do that. If right now if I flip this record around by the way, we're going to look at how to do de essing the hard way and the easy way. It's not so much the hard way. But what I like to do I think you've gathered this by now that quite often I breakout reason to show you the routing capabilities, because you may just have a DSM plugin that you can just drag and drop.

But this way, I just want to kind of show you the nuts and bolts behind how a DSL works. Let's put the rack around. So right now we have the output of the female vocal going into the compressor, the output of the compressor going into the first channel here, I'm going to break those connections. And we're going to start off from scratch. Now, the way it was set up right now with the output of the vocal going into hear the compressor, it's detection side will detect the amplitude of whatever's coming on in the input here. How about we worked out some sort of way that we could bring something in the sidechain that would really emphasize the SS and T's coming in at this female vocal and how can we do that?

I think we could do that with an equalizer. Let me flip the rack around and I've set up an equalizer you can see right here I've loaded up a rode off all the lows, and I've set up a mid range right here a high mid with a very narrow Q and this is around six and a half k, you will find all these SS and T's will be very printed. out around six to eight KS, it depends on the vehicle. But that's really where they kind of live. And we could test this by turning this around taking this out into the input, and then taking this up to the mixer, and then playing this and start from the top. So you hear that S is a little bit more pronounced, everything else has kind of been been rolled off.

Now how about if I was able to take the output of this equalizer and put it in the side chain in? Do you follow where I'm going here. So basically, what we're taking is the female vocal, just wrapping up the esses, you know, to a ridiculous level, not to end up hearing them, but to use them as a sidechain input and how we're going to do this. Because what we need to actually do is split off two versions of this female vocal, you could copy the track and that way you could have two different tracks. I'm actually gonna use flutter reason has a utility here, which allows you to split signal off. So I'm gonna take the direct out of my female vocal.

Now I can split off or different kind of feeds from this direct out. And so what, here's what I'm gonna do, I'm gonna take it just the way it was before going to audio input, and then the audio output goes up to the mixer. So that's just like the splitter wasn't even there. It's basically taking the output, putting it into the compressor input and the output of that into the mixer. Here's what I want to do. I want to take a second split off of that and place it in to the equalizer, then take the output of that equalizer, guess where right sidechain in.

So now you can see that a split of this female vocal is just being wrapped up like crazy to emphasize the esses and that's going in the sidechain So now we flip this back around, the compressor won't be looking at the NFL to the female vocal, it will be looking at the times when the SMT is really peak over there, we won't be hearing this. Have you noticed that that the output of the equalizer doesn't go anywhere where we're going to hear it is just going to the sidechain of the compressor. So now that you can kind of understand, you know how this all works under the hood. Let's see a very easy example of this. Okay, so now I'm over in Pro Tools, and I'm going to do this the easy way and insert plugin dynamics, and there's a DSL Okay, so now here's what a DSL looks like.

And guess what you can see where its frequency is standard seven K. So already these these default settings, really let you know that that the areas that you really want to look at and so let's play this. How do you sleep with Oh, afraid to take a breath. So you'll notice there's a button here called listen. And what that does is just like a moment ago, and we did that in a reason where we just listen to what it was like, just listen to that little notch filter. Check it out. So you can see that's the key.

That's the key input, or the sidechain input for this DSL. Those words tell me that. That you love me. When she went earthquakes, that was loud. Earthquakes was loud, but if you notice, there was no gain reduction right there because it wasn't looking at the amplitude like a typical compressor was, is it the earthquakes in that that it was no s and t He's in there. So it wasn't compressing that that part.

Let's see if I can just go back to the panel make it we're beautiful. How do we face the bitterness now that the smoke has clean? We've had a share of defense says, but I still need you here. When the world falls apart, tell me that you mean me? wildfires and tidal wave. Those parts were really loud.

If this was just a typical compressor, then you would, you would be seeing a lot of gain reduction here, right? But because it hit those peaks, and this wasn't reducing it You'd then suspect Well, this is some sort of design normal, any normal compressive This must be something very, very different. It must be keying into something different on the vocal and what it's doing is keen exactly with what it's hearing right here. And then of course, you can dial this in there. Like I said, you know, if you wanted to take some of that doesn't mean it has to just be in my bed around 500 dear friend says, I still need you. When the world falls apart, tell me that she named me when wildfires die.

So depending on what you can do, typically it'll have an area where you can zero in on the particular frequencies and like I said, Just because it's called a DSP doesn't mean you can't get creative with it as well. You can compress, you know, thin slices. Basically, that's what a DSP does, it compresses very thin slices of the frequency spectrum. But this, these SS and T's tend to be the most problematic. And so you can just dial it in a lot of them, you can just listen in so you can really dial in on what that those frequency band that you want to compresses, and then all sudden, you can say, as well, you can decide how much of that you want to reduce and quite often you'll see that reflect on that graphic thing. So there you go, de essing in a complicated way.

And then now just doing this in a very easy way, depending on your door, you may have some of these built in or you may need to go out and go shopping for a DSL, but they're a really good thing to have in your toolbox. So from now on, you basically understand what side catch a sidechain compression is For that matter, you can use side chains for gates as well. It's basically to split off that detection side of your dynamics processor and let something else trigger that. And we'll see some more examples a little bit later on. So before we move on, let's actually look at one more routing technique. When we route any effect, we basically have two choices inline or parallel.

For effects like compression limiting AND gates, we normally use the inline approach the entire signal gets a bit in other words, the output of these drums go into a compressor and then that gets placed through into your mixer. So like I said, this is called in line because that the in this case this compressor is in line with the signal the whole signal goes through, everything gets a process and this normally makes sense with a lot of dynamic a dynamic effect processes. However, if you were to split your signal and have it go through unaffected as Well, that's what we call parallel processing. Now, why would you actually want to do that, in corrective dynamics processing, you want to affect the entire signal or basically doctor or change that waveform, pull down its peaks or kill a background noise with a gate, you know, whatever. In this instance, you just send your entire signal through, right.

However, if you want to just call your sound with compression, you might want to split up your signal, absolutely crush it, and get some grunge on that sound, and then mix that back together. For some added character to your sound in a lot of circles. They call this new New York style compression, as it was used on a lot of drums in New York studios way back in the day. Let's see an example of this. Okay, so let's see this in action. And we right now we're back in reason we have a drum loop here.

Let's just play that. So you can see that we have Bartlett Rock Around, we've just got the output of the drum machine going straight into the first input here, but how about if we wanted to compress that and I'm going to be using a specific type of compressor. They have a very cool compressor here called the pulverizer, which is not known for its subtleties, it tends to really just kind of crush the sound. So let's have a listen to what how that sounds. So as you would imagine, we just take that these outputs here and we place it in an input and output goes up into the mixer. Mr.

Okay, so the output goes up into the mixer, and then flip this record down. And so now this entire This is let me throw in the graphic before this is when it's in line this pulverize that is in line with the loop machine right here, the drum machine. Okay, so that's a specific kind of sound that may or may not be pleasing for you. But let's imagine for this example, we really love the kind of grand that that sound. In fact, let's even squash it. So regard for that really branches down.

However, what we want to do is just kind of introduce some of that grantee sound. Now, we really can't do that the way it's set up right now, but if we flip this back around, a handy little splitter right here, we'll be able to make this happen, right. So we'll just take the output of the drum machine, place it over here. Like we've seen before, when you use a splitter like this, it's taking this main output and split it up into four different stereo feeds. So let's take this over to the inputs. That's just like if the splitter wasn't there, it's going into here and then through into that pulverizer, and then the output of tavarez go out here, but what I want to do is split off another one over to input number two.

So now what we're going to have is the grunge pulverizer. That's, that's the sound of it coming through the pulverizer and then the dry sound. So let's see if these are all working. That's just the grind sound. And this is the clean sound. So you can see how parallel processing works out really well if you just want a touch of that compression Because that gives you time right up until mixdown, to make that decision about how much of that really grant is the up sound you want.

If this was placed in line, then you really don't have that kind of controls of parallel processing works out really, really well, particularly for drums. Now, depending on the plug in you're using, it may actually be able to do this without any of that fancy wiring around here. Note on this particular plugins made by softube, great compressor FET compressor, and this has parallel inject and what that means is that within the box right here, you can have full compression, or you could have full dry or anything in between. So that's really like what we did before. mixing between the two levels right here, you can do that right in the box makes it a lot easier to if you have a bunch of these instances across, you know, kick drum, snare drum, vocals, bass, things like that it just works out really, really well because there's no extra wiring needed.

Let's have a listen to this. So here, I mean, you really know a lot of these same things that you've seen before, you can see the gain reduction there. And you notice that it took a while to come back there. That's because the release is a little slow, you could make that a little faster, and then that would return to where it was. You'll notice that everything's very, very similar tech and released ratio. You've seen all of that stuff here.

I where's the where's the threshold? Well, this, you'll find there are some compressors out there that will treat threshold in a different way. This basically has a fixed threshold and you can drive your input into that threshold by using the input right here. So in this example, if I was to bring that down here, then we probably won't have any gain reduction. Now we're driving it in Okay, you can see we're passing that threshold because we're looking at the, the gain reduction right now. Let's imagine we're just gonna max that out.

It's gonna mash this signal. And like you said, like, like I said before, with this parallel inject, you have full abilities to be able to change between the completely compressed side or the completely dry side, anywhere in between a lot of people started calling this New York star compression, you know, way back in the day when some producers started messing around with this, and really crashing a drum signal, and then just feeding that back in. So that you can really have the best of both worlds, you can really crash a signal, but also still have some of the dynamics the original performance there, but just to kind of mix them together. You can either do that with some fancy routing like we did before. Or if you're, if your processes allowed to do it in the box, you can do it with a handy little knob like this.

Now there's one more routing option that we'll discuss and that is serial compression. Now imagine I had a track that had large changes in volume in the course Oh, you know over the course of that track, but I just wanted to even that up, and then I wanted to compress that you can do this with multiple compressors in a row was serial compression. I'm going to do this in Pro Tools right now and we have a an example track here. It's called serial compression vocal you can see there Big disparities between the first part of the vocal which almost like a whisper, and then you know, when she's really belting it out here, I'd really like to reduce the disparity between these two parts and then compress afterwards. And we can do that by serial compression. Now, I won't get really bogged down into how you do all of your routing in Pro Tools, that's for another another day, but I'll give you kind of the bird's eye view here.

Here's our vocal track. Now I've placed a compressor on that that compressor right here you can see that's named here vocal. So this is the compressor that's placed across this track. But instead of the output of this track, is what the IO stands for the output of this going to the left and right bass or the art one and two. I've placed it onto bus number one, and made a new auxiliary track that is fed from bus number one so you can see that the sound of this is going out bus number one and then coming back in bus number one On this auxiliary track, which then I have another compressor placed on there. So this compressor is this track, this compressor is the output of this guy, which has already been compressed.

So here's what I want to do. I want to lower this threshold down here until I capture this stuff and kind of tame it into kind of the same ballpark, as this guy here. I'm not really into making the sound the best, I just really want you to kind of get a grasp of you know how this how this all works. So we'll start out right at the beginning, look at the average level down here. So looks like the round here, okay. So that's where I want to start affecting this portion, which is louder, okay.

So I'm gonna bring it right down here. I've bought a one. And let's see if this portion here ends up being kind of in the same neighborhood as this one here. b minus 18, maybe a little over that way. So you can see this first vocal track. This is a pretty severe compression.

And all we've done is really get this guy in the neighborhood of the first part there. And now that we've done that, and then we pass that through the output of this track is going to bass one, then this auxiliary track is looking to bass one as input. Now I can compress both of these guys. And so you can see why I had to do a severe compression over here is to get them both in kind of the same ballpark, then we can do a little more subtle compression on both of them. So let's have a listen here anyway for you. So now you can see there.

It's around here if I want to do a little bit of compression a century Nothing seemed to sue mum when just a little bit there, and now she's gonna start belting it out. Yeah. Most the gain reduction has taken me by. So this first compressor is kind of doing the heavy lifting of reducing the disparity between here and here. And then when they're both kind of equalized in level then the second compressor here can do a little bit more subtle compression. Just so you can see how this happens in other da W's as well.

I brought up Logic Pro, and we base it on the same thing is that what are one track that serial compression vocals By the way, that's in your examples folder. If you want to play around on your own da Ws Well, we basically done the same thing. Here's that track here. And we have a compressor on it, which is this first compressor. And then we have a send, which goes out to bus one. And we have an auxiliary track whose input is bass one who also has a compressor.

So this is basically the same thing as we saw in ProTools, but just done within logic. Okay, let's have a look another form of serial compression in terms of subgroups. Now, if you've ever you know, learn anything about subgroups, subgroups are a great way to subgroup a whole bunch of inputs, a whole bunch of tracks like this guy, kick, snare hat, Tom 1234, right and overhead. Now, if you wanted to bring down the overall drums, you would have to drag every one of these faders down or you could make up a subgroup, an auxiliary track right Be here. And here's how you do it in ProTools. Don't worry about it, you know, this is not applicable to you.

But I mean, it's probably, I find it really interesting to kind of be a little burst into all the different da W's because you'll see some start to see some similarities between them. So an output of this kick channel here is bass one and two, as this is this one, all of these go to bass one and two, and then this auxiliary channel here is fed by bus one and two. So let me just play that I think is a little introduction for like a measure or so until the drums actually come in. Okay, so now everything's going out the bus one or two and then this subgroup he'll this box channel is being fed by one two. I can now adjust the entire level of the drums. I mean, try doing that without a sub grip.

You have To grab every one of these faders, I mean, it's clear that if you want more kick drum, you would do that if you want less high hat, then you would do that. But if you want to, if you start your blend of drums, and then you want to bring down the overall level of drums, then you have to pull everything down. You know, in that in that same kind of relationship, or if you place it into a subgroup, then it gets very easy just to ride your drums from there. So what are bring us all up and we're talking about Cyril compression. Well guess what I've done. I've looked at this first kick drum here and put a compressor on that and so let's play that should come up in a second.

Okay, so when the kick drum comes in, you can see there's a lot of production that's happening just for the kick drum right and I've done some makeup game Just the attack, so the fat person that kind of comes through. Okay, that's all working out well just for the kick drum, right. But how about if I shift click here, you can see that I have a nother compressor that's placed across the subgroup, which is the entire drums. So now we have completely independent compressors in series, first working on the kick drum in United States a moto compressor. And then over here on a stereo track, it's a stereo compressor compressive and so you can compress the heck out of the kick drum and then doing just a little less. So you see we're not seeing a lot of gang yet we're seeing a ton of it.

So this is another example of cereal compression So you can see that we have a bunch of different ways to route compressors, limiters and get in line with just a single channel or across a subgroup or over an entire mix if you like. Now keep in mind, you would need to have a two channel compressor if you ever want to process a stereo, track or stereo channel. We can also use sidechain to key in other inputs that trigger the detection and compress the compressors OR gates that signal. Remember that example of the drums triggering the compression on the Synth Pad that we did a little while ago, we saw parallel or New York star compression, and then finally serial compression. Now we'll look at all of these routing options in the dynamics in action section soon. But before we do, let's just quickly explore the different types of compressors, what characters they have and which model you should be choosing For each application that you have