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Tutoriales
Tutorial 1: Compresión y limitación

Tutorial 2: Usar la sección Gate / Expander

Tutorial 3: ecualización básica

Tutorial 4: Uso de la cadena lateral del canal Duende

Tutorial 5: Compresor de bus Duende

Tutorial 5: Compresor de bus Duende

El Duende Bus Compressor se puede usar en subgrupos, faders maestros e incluso canales y generalmente se emplea para
comprimir grupos de instrumentos o una mezcla completa.

Cuando el Bus Comp se inserta sobre el fader maestro en Pro Tools, aparece post-fader en la ruta de la señal. Lo que esto
significa en uso es que si mueve el nivel del fader maestro (es decir, para realizar un fundido de salida al final de una
canción), entonces el nivel en el Comp del bus cambia. Entonces, si se baja el nivel del fader maestro, la entrada al Comp
del bus también se reduce, de modo que al final, si la canción no habrá compresión, la entrada estará muy por debajo del
umbral. En este escenario, puede ser preferible usar el complemento de ajuste de Pro Tools colocado después del Comp
del bus para realizar el fundido de salida.

En Cubase, Nuendo y Logic, la inserción es pre fader, por lo que el nivel del fader no afecta el nivel de entrada en Bus Comp.
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Nomenclatura
A bus is referred to in different ways in the various DAWs. Traditionally a
bus is a path over which a signal travels in order for to reach a certain
destination. This destination is a channel which can accept various inputs
from various buses and is referred to as a sub-group. Pro Tools and Digital Performer use this definition and the signal will
be sent to an Aux Input or Aux Track via a specified bus. In this case the Aux Input or Track is equivalent to what we refer to
as a sub-group. Logic refers to a bus as both the path over which the signals travel and the destination sub-group. Cubase
and Nuendo handle this in a similar way but refers to them as groups.
Refer to the diagrams below which attempt to make this clearer!

So you’ve got that – a bus comp is not placed over a bus, but in fact a sub-group!

The Bus Comp found in SSL consoles has been most famously used over the mix output of the desk, and it has been said
that strapping the Bus Comp over your mix is the final ingredient to make it sound like a record. Try placing a Bus Comp over
main output quite early on in the mixing process, and using about 1-3db of gain reduction.

Bus compressors are generally used over signals which exhibit a variation in frequencies and transients, i.e. a drum kit,
backing vocals or any group of signals.

It is often desirable when mixing a drum kit to send all the tracks to a bus before they reach the mix output. A compressor
can be inserted over this bus, which in the case of the Duende Bus Comp provides a way of bringing all the separate drum
tracks together so they all start to sound like a whole kit again. It also gives an overall control over the dynamics of the drum
kit and lets you govern the interaction between the tracks.
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Open the appropriate tutorial 5 DAW file;

You can see that the 3 mono and 2 stereo drum tracks have been assigned
to a subgroup. Inserted over this sub-group is a Duende Bus Comp.

Play the track and open the Bus Comp.

Listen to the drums with the COMP IN button switched out to get used to
the dynamic in them. Now hit the COMP IN button and notice how both the
density and punch of the kit is increased.

The THRESHOLD is set at such a point so as to control the higher level

elements of the drum track. By decreasing this threshold, more compression takes place which can be clearly heard and
is reflected in the VU meter.

The MAKE UP GAIN is set at the point where the apparent loudness of the kit is about the same whether or not the
COMP IN button is down. As mentioned in the compression and expansion tutorial this is a good way to A/B as louder
signals generally sound better to us humans.

The RATIO is at the lowest setting of 2:1. At this ratio the Duende Bus Comp features an extremely soft knee
characteristic, meaning even the very low level portions of the signal are affected by the gain reduction circuitry, but less
so than the high level parts. At 4:1 and 20:1 the knee is harder and behavior is similar to a regular compressor.

A long ATTACK time of 10ms is used. This allows the initial attack of the drums to come through before the compressor
kicks in. Gradually lower the attack time and notice how the kit starts to sound squashed as the compressor reacts more
quickly. The main elements of the kit (kick and snare) become increasingly compressed but the rest of it (hats, crash
and ambiance) stay about the same. The attack time for percussive signals is often set to be quite long to allow these
transients to ‘breathe’.

The RELEASE is set to 600ms. Use fast release times to make the compressor ‘pump’, or longer times to provide a
smoother response.

The release time is a control which can be set according to the tempo of the track. A track at 140bpm will require the
release to be set faster than one at 90bpm. At 140bpm the compressor must recover more quickly, and the release should
be set to it’s fastest setting without causing the pumping that is generally avoided.

See the diagrams below where the thick black lines show the gain reduction:
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With the release set too slow, you can see that the compressor does not
have chance to recover before it reduces the gain on the next peak.
Because the compressor does not have time to bring the audio back up to
full level, the level of the next transient is compromised. This will results in
the first beat being at a high level and the following ones being lower. It
also means the average signal level is lowered because there is always
some gain reduction happening.

The second diagram shows a shorter release time which gives the compressor time to get back to its no gain reduction
state. This release time will probably sound most natural (which may not be what you are after!), and will yield the highest
signal level without a pumping effect being heard.

The Bus Comp can easily be made to produce a pumping by setting a fast release time, 0.1 or 0.3s. This can be heard quite
clearly over the drum kit by pushing the ratio up to 20 and bringing the threshold down. A denser, more exciting sound can
be achieved like this and can be a very desirable effect. Notice how it sounds like the drummer is hitting the kit twice as
hard and he’s put a few pounds on!

Tutorial 6: EQ avanzado

Tutorial 7: Compresión paralela

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