The Secrets to Compress Like a PRO | Vance Powell

[@agarthapodcast]

Join as a member to support the channel and continue having great guests like this on the podcast!

[@switchmuso]

Would love to have this with chapter headings...

[@dougleydorite]

I agree on adding chapters to the video. This is the best interview ever. Vance gets right to the point.

[@Rhuggins]

Dude hes SO cool. So natural. Love his energy, hes very genuine and generous with his time and knowledge. If I could intern with anyone in the world it would he him, without a shadow of a doubt

[@matthewlarkin5525]

"Everybody can make a record, everybody can put a record out.. the problem is not everybody should." - Vance Powell

[@jaydee3514]

why not? cause some guy said? do want you want. art is good.

[@e.apollis2877]

i met Vance in late 2000s in South Africa helding a workshop for us along with Fab Dupont, nice guys, i was early on set and Fab insist they should make me some coffee in our broadcast studios, but Vance still looks the same to this day after about 15 years!!

[@adamweeks4258]

Love Vance Powell. Always honest. Always informative.

[@mikebozik]

Just found your channel. These are some of the best interviews I've ever heard. I subscribed. Keep it coming.

[@danepaulstewart8464]

⭐️⭐️ Wow! Now THIS is a Master Class!

[@sonicart1808]

Excellent interview, Vance gives some extremely valuable advice here and answered some questions I had about using compression very nicely....but obviously trying to condense a lifetime of knowledge into an hour long video is just the "tip of the iceberg" so to speak.....very enjoyable thanks!

[@UmairDarVoid]

Can anyone explain the process Vance is describing around 15:00 about his method for mixing on auxes to avoid phase issues? That went straight over my head

[@oddcircuit]

yeah, a screenshot showing the mix window setup would be helpful, I thought I understood it until he said "have the master fader b4 the aux" but I thought avoiding the master fader was the point and have the aux act as the master fader with inserts on it...then send to the original master fader, visible or not, so confusing, a picture would be easier to understand...besides that every channel has a master fader🙃 Hope I can figure it out cause it makes sense from a processing stand point

[@dustycooper]

Apparently Pro Tools has an issue with time alignment when parallel processing tracks that are routed to the main output. If you route channels to an aux first, process them there and then route the auxes to the main output it should work. This does sound like a Pro Tools issue though, other DAW may or may not have this issue.

[@AforAleph]

@@dustycooperthank you for that explanation! Would be great to know that for sure… (whether this is just a pro tools specific issue!)

[@poddenerwowany]

@@oddcircuit Also, I didn't really understand it, but I guess it's about the specifics of Pro Tools. I use Reaper.

[@DeLucas.2Mix]

I think I already understand. Imagine that output 1-2 is the door to leave the house. What he suggests is that parallel processing be done at home. Therefore, never directly with the outputs (channels, bus, or aux) to output 1-2, but rather to a final MixBus and then it is the output of the Mixbus that must send to Stereo Out/Output 1-2. I don't know if I managed to explain myself. I hope I helped.

[@dcly2713]

Inspirational that a great still goes mainly analog. 🙏

[@jumpbackgeno]

Very cool watching this, I'm just a demo guy but got a ton of Insight from this Interview, thanks Guys

[@hu-mu3159]

really like you showing ever item people talk about, thanks for that good content you have

[@agarthapodcast]

My pleasure!

[@PhatLvis]

Wish Powell would do some Mix With The Masters-type videos. Vetrean pro with stacks of great gear, finely curated.

[@Rhuggins]

Whoaaaa- incredible! Instant subscribe

[@AH20XX]

Boss level interview right here!!!

[@rome8180]

Love this. Is this available on podcast apps or just KZbin? It looks like you've put out three episodes over the last couple of weeks. If you intend to keep releasing them at that rate, I would love to have them on a podcast app so I could listen at work. I've been looking for a new good production/mixing podcast. I've listened to all the good ones out there. There are a lot of terrible production podcasts with hosts who don't know how to conduct an interview. I appreciate how you take a step back and let the guest speak.

[@1morenote.]

I'm Always ready for a compression lesson , I'm all Ears, no pun intended

[@TheLeon1032]

what a blast, thanks for this guys, I learned a shit ton too

[@b00ts4ndc4ts]

I love how modest he is.

[@cbrooks0905]

It’s beyond me why no one can simply explain what compression does and how to hear it. Here’s the simple truth that none of them will just state simply: There are two main kinds of compression for mixing: First kind is to pull a sound together, making it denser and more focused. This type of compression requires a lower ratio and low threshold so that the signal is being held onto the entire time. An example of this would be putting an LA2A on a vocal to smooth it out and make it more focused. The second type of compression is really the one that takes people the most to understand and it’s really simple if someone would just explain it properly. This kind of compression is for placement in the 3d field. This is where you have to understand attack and release. And it all has to do with the science of sound. If something is up close it’s going to be more transient and open sounding, and conversely, if something is farther away then it is going to sound less transient and less open. Eq plays a role in this as well. If something is closer to you it’s going to be brighter and full “frequencied”. If it’s farther away it will be more rolled off. Think about someone yelling in your face as opposed to someone yelling from across a big auditorium. Now how do you make the compressor create these placements? It’s simple. The faster the attack the less transient the sound becomes effectively pushing it back in the speakers. And the release will control how open or choked it sounds. So, if I have some drums that I want to sound pushed back in the 3d field, I’m going to set my attack and release pretty much right in the middle. Then I’ll slowly make the attack faster until I hear the drums being pushed back. Once I have it where it feels right I’ll start moving the release faster or slower depending on how open I want it to sound. So you listen for that. If you’re moving the release faster and it’s starting to sound too open and uncontrolled slow it back down, and conversely, if it starts sounding choked make it a little faster. It’s just that simple. For this technique you also want to go with a low ratio because you want the compressor to be riding the audio the entire time. It’s how it holds the element in that place in the 3d field. Hopefully this helps. It doesn’t take an hour of beating around the bush to explain this.

[@DJJoeySantos]

The best!

[@tmappe]

So much wisdom and knowledge here

[@joolm4976]

Cubase perfect for parallel proccessing. Never had phase issue

[@PlayhardStudios1]

Learned so much from this video thank you 🙏 😊

[@facundofontela316]

Te felicito por el nivel de entrevistados y de entrevistas que venís haciendo, dejando hablar a estos monstruos sin cortarles mucho el rollo cuando se sueltan ja. saludos de buenos aires.

[@agarthapodcast]

Gracias Facundo, un abrazo!

[@wyrlismike]

itd be cool if one of these videos actually got the guy to give some actual information. like typically how do you set up your distressor for kick and snare. why would i need to just hear that he uses that compressor. i could guess he uses something like that when mixing snare.

[@eancurtis9333]

Awesome

[@stubbadubs]

not sure about the decimation stuff... if you lower volume on a 24b file, it is still a 24b file.. thats like saying a daw sounds different than another

[@RealHomeRecording]

What's the secret to getting the music I compress heard on worldwide radio stations?

[@1shannonleggette]

Nice.

[@toddpurnick5848]

Fuck, this is great.

[@markwilson1446]

Can someone explain his answer to question put to him at 15:25 ?

[@diegooliveirabenjamin]

There’s a lot to unpack on their question and answer, but I’ll try to stick to the main point made by Vance. If you’re doing parallel processing to a track that’s sent to let’s say output 1/2, don’t send the parallel track with processing to output 1/2 because they’ll arrive at these outputs at the same time, that’s where the “phasey sound” it’s coming from. So to mitigate this Vance suggests sending all the main outputs to another bus so everyone arrive at the same time that’s is the “dsp window” he mentions. Making use of the delay compensation on the DAW

[@markwilson1446]

@@diegooliveirabenjamin thank you

[@markwilson1446]

@@diegooliveirabenjamin thank you

[@sevchyk]

A lot of gear was named in this video, which is not bad.

[@Bottomfeederonfire]

The secret sauce is boogie sugar, dude was trying dislodge one the whole interview.

[@andrewrice9383]

The secret is the beard

[@staffan_hemmingsson]

The secret to compress like a pro is still a secret....

[@Gang-25j]

There is no secret

[@b00ts4ndc4ts]

Compression is for children:- Bruce Swedein.

[@studiounderjord5611]

Yeah, clickbait 🤣

[@Canderson_Beats]

No, just serialize. Start your first compressor off at 2:1, and then your second compressor should be 1.5:1. Transparency is key.

[@jimmyweaver5843]

@@Canderson_Beats😅that’s why people are still using hardware pre amps and compressors right?

[@Hello-pl2qe]

To be honest I'm left with the impression this guy has never used a compressor

[@reidhauke3389]

Lol wtf

[@martin_gllt]

He won grammy bcs he worked with talented pple. He won grammy bcs he grew up with music industry. He won grammy bcs he was motivated all the time. Thats the reality. Uhm, so compression ?? Not complicated, turn knobs without looks on computer. Use only your ears. We talk about feelings here. Only feelings, not numbers. Compression is a good deal to have movements in a signal, to have a pumping signal (on drums often or others). Use attack and release in a smart way ; it is about tempo of the song and also... FEELINGS aha.

[@Magnetic1908]

What are you trying to say? It sounds like he knows what he’s talking about. I’ve heard Dave Pensado say he’s still learning and understanding compression.

[@martin_gllt]

@@Magnetic1908 i mean you can be the perfect idiot and know how to use a la2a. Compression is not difficult if you know what you want. Stop thinking about troubles on compression and others theories.

[@Magnetic1908]

@@martin_gllt I think Dave was saying there’s so many ways to use it. I guess

[@augustleo7434]

Yeah, I learned just about nothing from this interview...

[@mannylocomeng]

Good for you! It's always great to know that you have so much knowledge and don't need any tips from this interview.

[@orphic-trench]

This is the second podcast I listen to from this channel. I'll try to give some constructive criticism. I know it's not the most popular thing to do. First, I really hate it when the interviewer only does "passive listening", i.e. asking one very general question and then going "hmm, hmm" for five minutes. It would be more engaging if it was an active conversation between the interviewer and the interviewees. It's not an easy thing to do, but it would help. Also, there's no reason to be smiling all the time. When the subject is serious and engaging, one would expect the interviewer to be serious about it. The passive listening plus the smile 100% of the time just makes it feel as if either the interviewer is stressed or just has nothing to add to the conversation. Just my 0.02.

[@mikebozik]

Sorry, I'm going to have to disagree with you. The people he's interviewing don't need a bunch of prompts, they have a lifetime of experience to talk about. The worst thing you can do is interrupt someone when they get on a roll. The internet is filled with horrible interviewers that ruin interviews every day, annoys the crap out of me. It's not about the interviewer! Ask good questions, and shut up and get out of the way. This guy is doing a fantastic job, and I hope he keeps up the great work. As far as smiling goes, who cares?

[@Jiveness]

@@mikebozik what was weird for me was the lack of any follow up questions. It seemed like the interviewer was relatively uninterested in the subject and didn't really add anything or guide Vance into deeper waters on subjects he found interesting

[@briangale3118]

@@Jivenessagreed. This dude is a robot. Looks like his boss gave him a list of questions and that’s it. No banter or expanding upon ideas 😊

[@Synth2000]

Less empathetic interviewer I have seen in a while. Are you hangover, sick or something? You have a legend on board, come on…

[@acecomet]

Less compressions the better. It destroy the dynamics and kill the human vibes

[@huberttorzewski]

I'd say the right, tasteful amount of compression is always better than undercompression or overcompression. Nowadays the trend is to kill all dynamics unfortunately

[@Exaltation-heliacal]

Never seems cool.

[@plummetplum]

Weirdest interview ever, i had to switch off after 19mins, learnt nothing.

[@colonelwatts]

Lol tbf he's coming from a very unique position it seems, kinda old school I guess - his line about leaving pro tools faders at zero and just making recording mix with mic gain is great in theory, if you're only recording a classic band lineup for example