So let’s go ahead and listen to just the drums, and I’m going to unbypass the plug-in here.Īs you can hear, the transients sound a little bit smoother. I find that the Fatso here does a really great job of giving the drums a character that allows them to cut through everything else without taking up too much space. So I’ve found that this Empirical Labs Fatso - I believe Empirical Labs, from my home state of New Jersey - they also make the very popular Distressor hardware unit. Okay, so it is really important, once you have this multi-buss system established, especially when you have tons of tracks like this, is to give the individual busses their own sort of color and character, because things really start to mush together once you have like, 80-100 tracks.
I’m going to mute the instrument aux, and I’m going to bypass the Fatso here, and let’s take a listen.Īnd now we are only hearing the instruments. So let’s go ahead and check out just the drums. So all of my drums - let’s go ahead and mute the instruments - are being fed out of these tracks here via the outputs, hard sent, and arriving at this drum aux, which I can then treat separately from the instruments, which are also sent out hard sent. I’m not sure if I’ve broken a hundred yet, but there are a lot, as you can see. So that’s basically what I’ve done here, which is very helpful when you’re talking about a session like this, where you’ve got a lot of tracks. However, he came up with the ingenious idea to separate parts of the arrangement like drums, vocals, instruments, to separate busses, such as drums, instruments, and vocals, which would allow him to treat the different parts separately and have them not affect each other negatively. Essentially it begins with Michael Brauer, who as legend has it, was working with Aretha Franklin, and he found when he tried to bring up the bass, everything else became a little bit more quiet, because he was feeding too much signal to the master buss. Okay, so the story about multi-buss compression. It’s still a work in progress, but I hope you enjoy it. This is exciting, because normally the tracks that I use are ones that I’m just mixing, but in this case, I wrote and am producing this one, and I recorded and played most of the parts myself. We are with The Pro Audio Files, and today I am going to be talking about multi-buss compression, and how to use the UAD Fatso to make your drums pop and come to life.
Greetings! My name is Ian Vargo, and that’s my assistant Luigi.
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