Description
Feed-back Compression video tutorial explains in detail the difference between feed-forward and feed-back compression and how and when to use them.
In almost all compression applications we use the correct compressor topology (design/type) for the task at hand. The choice of compressor type has a huge impact on how audio is processed and how it ultimately ‘sounds’. Understanding the different compressor topologies is a must for any producer. But what about how a compressor behaves? Well, for that we need to look at the two types of compressor behaviors: feed-forward and feed-back compression.
Feed-forward and feed-back compression
Compressors tend to come in two behavioural types: feed-forward and feed-back. In a feed-forward compressor, the control circuit receives the audio signal before the signal goes through the amplification system. Most modern-day compressors behave this way. Offering detailed control over the attack and release functions feed-forward compressors are better suited to control audio than add acres of colour.
In a feed-back compressor, the control circuit receives the audio signal after it has passed through the amplifier stage. Most vintage compressors behave this way. Because the detector reacts to the signal after it is compressed the result is a smoother and more coloured response.
Using feed-forward compression to process vocals is a great way to control the dynamic range of the vocal recording but feed-back compression allows us to compress the vocals in a musical way.
In the Feed-back Compression video, I use the wonderful TDR Feedback Compressor 2 to treat a female vocal take. I explain what feed-back compression is and how to use the features of a feed-back compressor to process vocals. I explain how the compressor’s parameters work and guide you through the best settings to use for vocal processing. I explain the differences between working with Peak and RMS modes and show you how each type affects the vocal take.
The plugin used in this video:
Topics covered in this video are:
- Peak, RMS and Crest Factor
- Feedback and Dynamic Compression
- Features and Control
- Best practices for Threshold, Peak Threshold, and Ratio
- Time-based Release
- Transient Control
- Crest and Knee
- Side-chaining and Filtering
If this tutorial was of help maybe these will also be of benefit:
Compression – What is it and how do you use it
The 4 Modes of Compression and Expansion
Mix Bus Compressor Topologies – which compressor to use on the master bus
Pumping and Swelling Drum Beats using Compressors
Compressing Roland TR 909 Kick Drums
Compressing Roland TR 808 Kick Drums
Shaping Drum Sounds for Layering
Drum processing using Middle and Side – M/S
Transparent Limiting with a Compressor
