Hi all,
I’m just getting started with “compression” on the AR and need advice - the more specific, the better.
So fire away: what are your settings like?
Cheers!
I mix the tracks “cold” and hit that makeup gain.
Threshold: usually between 80 and 100, Attack: 3 or 10 usually, Release: A1 if it’s a “leveled” compression, quick fast release to stomp, Ratio: usually 1:2 or 4, Sidechain: almost always HPF, Mix: between 50 and 70, Makeup gain: 15-25, Vol: 85-100
FWIW I have no idea what I’m doing.
When it seems I’ve got my levels, I turn Compressor Mix to 100 and twiddle knobs until it sounds good, then back off the Mix and tweak accordingly. Those are my numbers I often come up with.
Don’t forget the Distortion page. I find that really helps makes things crispy and clean. I hit it before I go to the compressor.
Again…no idea what I’m doing.
1 Like
compression settings are always input level dependent (applies to all compressor / dynamic processors). so how you balance the levels of each drum sound in the kit will have an impact on how the compressor works. therefore, sharing settings is futile unless you’re working off the same sounds… which is extremely unlikely if you’ve tweaked the kit settings.
best advice is to read up on how compressor works, then spend some time experimenting with settings to see cause and effect. I’d also learn to “gain match” compression in beginning so you learn to hear what compression actually does to sound. as with most things, there’s rules on how to do things and once you grasp these it becomes clear how / when to break them.
7 Likes
^ Indeed!
threshold, makeup gain (and sometimes dry/wet mix) are always going to be different. Attack, Release, Ratio, Side-Chain config are what is important if you’re looking to glean some magic from others.
A limiter is nothing more than a compressor with a ratio of 10:1 or more, and a very fast attack.
Fortunately Rytm’'s attack is about as fast as they come in analog hardware. 0.03ms is practically instantaneous.
Now, there is some concern about bass frequencies being distorted at such fast attack times, due to the wave cycle time of such frequencies. But limiting will generally introduce distortion, and as long as you like the way it sounds, go for it.
This is my default live stage limiting setting: Ideal for techno, house, electro (but not electro house because really?, i mean really?)
Fastest attack for true limiting.
Release at A1 which is the faster of the two auto release settings, and, IMO, the best “set and forget” release setting
Ratio at MAX because again, limiting.
SideChain EQ (SEQ) at HPF to allow the control of the compressor to be less influenced by low end frequencies prominent in such dance music styles, reduces the sucking and swelling and gives a good even sound, preventing the big gain rise when the low end is reduced, removed or muted during breakdowns and interludes.
As mentioned again and again, threshold is level dependent. But what is important is that 2 pixel wide vertical bar next to MUP. This is the gain reduction meter. The lower it goes, the more you are compressing.
I personally find it sounds great somewhere around the space between the MUP characters and the circular MUP parameter graphic, as pictured.
Mix at Full Wet because limiting means nothing goes beyond the limit, and a bit of dry signal mixed in will reintroduce dynamics that will exceed the peaks. In other words, the person running the PA will like you, very much.
MUP to taste. Not too heavy or you will distort. Enough to get back the volume you’ve lost from gain reduction, but no more.
VOL just enough to get a good level into wherever your Rytm’s output is headed next.
These settings are for the entire stereo mix, out of the stereo output (no individual outs utilized).
These are the settings I’ve been using the past couple years for live performances.
Used in this performance for reference:
A4 output (which also has drums) goes through an FMR RNC with HPF SC, configured in as much of the same manner as possible (except not as fast attack and no auto release setting)
30 Likes
…enjoyed this one all the way 
nnice
I dont know how they actually work, but setting mix at 50% always makes sure that they sound great.
1 Like
this is also known as parallel (or NY style) compression, and usually works best when you slam the compressor and then dial in the original mix. keeps transients clear, whilst adding more punch.
1 Like
These days, I use parallel compression only on drums (using Presswerk, not the Rytm), and a full compressor with very gentle settings to the buss mix on top of that (-2 db). Works nicely every time.
The compressor inside Rytm is the one I could never get really to work when I set it to 100% - it is not the most subtle, is it?
absolutely no!! It is a rude killer 
It would be great if the RYTM comp had a gain reduction meter, unless it has already been added in a recent update?
3 Likes
It has a gain reduction meter, it’s just not calibrated, so you don’t know exactly how many dB you are eating.
does the gain reduction meter need to be switched on somewhere? I see nothing, not even a bar as it says in the manual.
Salut. Did you try to lower threshold?
yes no matter the amount of compression applied (lowering of threshold) , no “gain reduction” bar shows up on right side as manual says. very weird.
I have a MKI since a couple of weeks, and the meter is pretty reactive.
I don’t have it next to me, I can’t test.
MIX / MUP ?
Can you hear sound differences?
yes I just use my ears. definitely working.
just wish I had a small visual guide (that i read exists in the manual) I know that digitakt also has one I saw a video online that shows it there. Im not sure If Im using it wrong or if this version of OS is not including this feature. using the new 1.46B in order to make it work w overbridge.
I think I can’t help further, not using Overbridge…
1 Like
thanks. figured. weird they kept it in the manual though lol. Im a newbie. manual not very helpful! lmao.
this is wild