Fruity Compressor: How to Control the Dynamics of Your Sounds with FL Studio

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How To Use Fruity Compressor

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Generally speaking, most compressors work on their own and focus on controlling the output of a single channel in your mix. Sidechaining works a little bit differently, by making sure a particular sound is compressed, relative to other sounds or channels in your mix. In laymen terms, sidechain helps your leading elements stand out while ducking the volume of other sounds that get played at the same time.

Essentially, compressors are useful for making your loud sounds softer. So you can boost the overall level of a track while narrowing the dynamic range. Resulting in a much cleaner, and more enjoyable mix.

Perhaps the most important parameter on your compressor. Setting the threshold means that any sounds on the track louder than this will be reduced according to the ratio. While leaving sounds sitting lower than this level alone.

Perhaps aside from equalization, there is no type of processor more essential to the audio engineer than the compressor. Originally used in the broadcast industry to prevent the over-modulation of radio waves, music engineers gradually realized that compression could be used for other purposes. Compressors can even out the dynamic range of signals, making them easier to balance against one another. They can also manipulate transients so that the attack of kick or snare drums are more or less pronounced. Additionally, because many early hardware compressor units were tube (valve) based, engineers utilized the fact that they had a rich tonality to them, making them great for adding harmonic content to recordings.

So as you can tell, compressors come in several varieties, and can impart myriad qualities to your program material. While I love using different compressors for different utilities, most essential is learning the basics of gain reduction. For this reason, you might want to get comfortable with the concept by putting your stock DAW compressor through its paces before investing in third-party plugins.

After the release of FL Studio 20, recording and processing vocals in FL Studio has become a lot easier. Rock music, in particular, uses lots of highly processed backing tracks. FL Studio has a great range of reverb, delay, compressor, and FX that can help process a great-sounding rock vocal.

The Fruity Compressor is a legacy plugin of Image-line. Unlike Fruity Limiter and Multiband compressor, it can be found only in the browser. The Fruity Compressor has a Vintage knee mode. It sets the knee value at 7dB. There is also a TCR mode that automatically sets the release time of compression.

The difference is, that the compressor ratio gradually decreases after a certain time to 1:1, allowing the entire signal to compress except for the loudest part. This simulates the classic LA2A compressor model, which is well known for mixing rock drums.

You have two multiband compressor options in FL Studio. The Fruity Multiband Compressor, or Maximus. I would recommend using Maximus as its features are more advanced. How Maximus works is that you have three bands (Low, Mid, High) where you can set the frequency range for each, and then also a single band master compressor on the effect. This gives you added control over your audio through the frequency range, plus you can gel the bands together with the single band master compressor.

The TDR Feedback Compressor II is a major design update of its critically acclaimed predecessor. The compressor is dedicated to compressing the highest fidelity stereo program (2-buss), but equally shines in classic mixing tasks.

Compression is one of the most powerful yet often misunderstood tools in music production. When I was first learning audio, I remember knowing I had to use a compressor, but I had no idea how to set it up, or how to hear what it was doing. This article will help to uncover some of the mysteries of compression, and guide you on how to set the compressor plug-in parameters flawlessly no matter what the style or genre of your vocal.

The threshold is at what point the compressor kicks in and starts compressing. It is measured in decibels (dB) and anything louder than the threshold will be compressed. Anything quieter than the threshold will be left alone.

After you set your threshold and your ratio, the signal will sound quieter than before. This is a result of gain reduction; peaks being reduced in volume after going over the threshold. Many compressors have a meter to tell you how much gain you lost in the compression process. If you have one, use it to guide you on the last step!

Load up a compressor module included in a plug-in like Nectar Pro and start experimenting! The more you practice, the easier it will be to find the right parameters on your compressor to help your vocal shine in any mix.

Say your threshold is -18dB and your ratio is 4:1. As the audio approaches -18dB, with a knee of 3dB the compressor will actually start engaging 1.5dB earlier (knee blurs both ways, 1.5dB before the threshold and 1.5dB after).

Some software compressors will offer this feature, while analogue or modelled compressors will rely on the circuit type to perform either type of compression (some analogue compressors would be closer to RMS, some to peak etc.)

Personally, I love use a VCA compressor on my drums buss or even the master buss. Even though it sounds very transparent, it just has a certain way of tieing all the audio material together (I use the stock Glue Compressor in Ableton Live).

Rock music is one of the few music genres that has not faded in popularity over time. Almost all of the production work is now handled in the DAW. FL Studio is not designed for multi-track recording and computation. Reaper and Avid Pro Toos are two of the most popular DAWs used by rock and metal artists. The FL Studio plugins for guitar and drum are very simple to use, as are those for drum and bass in other DAWs. For a great-sounding rock vocal, FL Studio has a great range of reverb, delay, compressor, and FX. To make use of any amplifier or effect, a producer can select the output position of the recording from the playlist channel.

Actually, the compressor reduces the gain (level) of the signal by means of a ratio setting. For instance, a ratio setting of 4:1 implies that if the input level is 4 dB above the threshold level, then the output level will be 1 dB above the threshold level (gain reduction of 3 dB). Similarly, a ratio of 8:1 means that if the input level is 8 dB above the threshold level, then the output level is 2 dB above the threshold level (gain reduction of 6 dB). See also the illustration below:

To say that a compressor generally works by reducing an audio signal's level by a certain ratio above a specified threshold would be to reduce its magic to a simple truth that doesn't even begin to tell the story. For one thing, the most interesting elements of that gain reduction occur in its attack and release stages, the slopes of which are rarely consistent. Without getting hung up on largely irrelevant technical details, let's just start by saying that compressors lower the levels of peaks and allow us to bring up the overall level of a signal without clipping.

Last but not least, compare prices! As with most things, pneumatic compressor quality and performance is greatly influenced by its price. Don't be too jarred when you realize that the totally AWESOME compressor with those perfect specs you had your eyes on happened to be 5 grand! Tsk tsk. Most people don't need such "awesome" compressors, and can easily get by with ones in the 100 dollar range.Aero Blasts

Compression can do radically different things to the sound of a snare drum, depending on how it's set up. In this episode, Mike Senior explores three ways in which a compressor can help bring your snare tracks to life. 2ff7e9595c