![]() You can pretty much always adjust the attack, release and threshold, but the meat is in the algorithm responsible for the transition into full compression and back to a normal level. library layering multiple together is where the real magic happens, because the attacks, sustains, expression contours and everything else balance each other with incredible realism (assuming you’re using high-quality libraries).įor most purposes, stock compressors are enough to control your volume dynamics for any instrument the case for 3rd party compressors is largely tied to extreme digital effects and recreations of famous hardware units that audio engineers love. ![]() When you buy sample libraries, it’s unfortunately not enough to have only one string, woodwind, etc. Realism is key here, as is flexibility, and you’ll find different audio companies possess an entirely different tone across nearly all their libraries, whether soft, harsh, warm or a range of other qualities. You could buy nothing but better sample libraries and never worry much about any other software purchases (this is a mild exaggeration, but not by as much as you think!). If you compose acoustic or hybrid electronic music for films and/or video games, sample libraries are your bread and butter. UJAM’s STRIIIINGS and DRUMS cover your bases into two major sample library categories, then you have brass and woodwinds ( Cinesamples is generally a great option there). They’re very expensive to produce as many have recorded full orchestras playing tens of thousands of different sounds, and you’ll likely always need to look for 3rd party options. ![]() This is one plugin type for which your DAW’s stock plugins will almost always be lacklustre.
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