#909 public house serial#

So actually an age old production standard. so paralel compression came in handy to cultivate the sounds of heavy compressions.

Its not given to any compressor to do more than 3 db in the sum without sounding shite.

#909 public house serial#

especially when you cant afford a really good sum compressor.ДЄ highend vari mu actuall gets close in serial to what you get with cheaper compressors in parallel. gives you way more control over extreme settings that would just sound too squashed when doing that on the master. straight after the 'more is more' philosophy its sounds nice and fat having a compressed drumbus and a direct feed to the sum in parallel. Than you can have the compressor pumping as hell and still have clean precise transients in the mix. Who has named that NY compression? its as old as desks with subgroups that you have a compressor on the drumbuss and direct signal to the stereo master in parallel. Does it even sound much or different or better at all? What's so great about 'NY parallel compression'? I always do serial and never tried parallel. Right?Д¬an't be giving out advice with a slice of philosophy if you don't know what I'm talking about. its definitely more trickery and good choices in plug ins necessary to get there ITB.Not sure if your being drunk and German again but you do realize new York compression is a form of eq'd compression. However thats one of the areas where analog recording equipment makes it much easier and quicker to get to the desired result. its definitely more trickery and good choices in plug ins necessary to get there ITB. Thats quite a difference to just choosing presets from which 80% are anyway just treated 808 and 909 sounds. and process the single drum channels with that to your liking. So you start of with saturators.analog pre amp emulations that emulate overload behaviour and good not digital sounding eqВґs. On the 909 a little dip on the kick around 350 hz was benefical for example. but more so channel overloads and proper euquing is part of the game. The tracks you mention are mostly recorded analog.so real tape saturation at the mastering stage.often form nothing more than a tape deck might be involved. i recomend berlin comprssion.just overload the channels of a good sounding analog desk.

New york compression is such a funny word. So in short.for a good 909 sound you need to tweak it. So any producer had an own drumsound.not a preset drum sound. That is the point the preset kids of today dont really understand.ДЄll the old rolands have only preset sounds when you dont treat them.but any producer back than felt obliged to make them as fat or cool sounding as possible and thank to the parameter knobs on the 909/808/303 and production trickery the variations are allmost as endless as on acoustical drum recordings. How do you process the 909 to get that classic 909 house sound running the kick, snare, clap, and hats out the individuals, ugh, it just sounds so flat and boring. If i run the 909 in stereo to the board and listen at a high volume it sounds good, not great, but good. the kick is big, but now huge, monster big. the snare sounds like a typewriter, and the cal, god not that clap. the hi-hats are very one dimensional and lack that 'wet' gloss. My 909 sounds flat compared to the stuff i listen to.