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Color Processing
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This is the second installment of my series of articles addressing the processing of drum tracks. Our focus here is on compression. I tend to use compression for two distinct reasons - to color a signal or to control its dynamic range. Hardware is preferred, but software can get you there too. I won't go into great lengths about how to use a compressor but will touch upon some desired approaches. Also, there are four different types of compressors: Vari-mu (Delta-Mu), VCA (voltage controlled amplifier), FET (field effect transformer) and Electro-Optical (opto). For drums I'd recommend sticking with FET's or VCA based designs, although you can get anything to work if you try hard enough.

First, let's talk about color. By altering a compressor's attack and release controls, one can alter how much sustain, attack and punch a track will exhibit. For example, by compressing a kick (bass drum) track, you can control how much beater "click" you hear versus how much "body" and thump is heard. If you want more "snap" out of a kick, simply slow down your attack to allow more of the initial transient through. Want more "shell" or "bloom"? Crank up the attack and slow down the release. Now the initial click is caught and tamed while the tone of the shell is brought up.

Think of this approach as a way to EQ the signal without resorting to using an EQ. You're basically manipulating the attack and sustain of the track to produce more bite and punch or to round off transients for a softer mellower sound. Stylistically speaking, Modern Rock tracks seem to beg for massive amounts of compression, whereas Jazz and Folk tracks prefer to be untouched. Ratio and threshold are also definitely important, but to me the key to proper compression is all in the manipulation of attack and release. If you're using an LA2A, forget what I just wrote and carry on.

Okay, so the other reason compression is employed is to simply reduce a signal's dynamic range. For instance, if you have a snare track that has varying intensities in amplitude (meaning the drummer played some hits harder than others) and you want a more consistent level or placement in the track, you may want to slap a compressor on it to keep the output constant. You could also place a limiter on the track to keep from spiking into the red (overloading) while still preserving most of the original dynamics. Compressing or limiting overhead mics is a common practice and you may find that just a touch of compression here and there can help reign in unruly hits.

If you're looking to present a more honest and natural drum track, then slight hints of compression at low thresholds and low ratios will be the prescription of choice. Also, if you do decide to strap a compressor across the Drum Bus, I prefer to keep the compressor in Dual Mono, as opposed to linking the compressor in Stereo. Listen for yourself and do what you like, but Dual Mono seems more exciting and natural - allowing the drums to sort of leap out of the speaker during fills and crashes. Remember, experimentation is key. Have fun and be sure to read my other articles in this series which address gating, parallel compression, equalization, and other concepts.

Thai Long Ly is a professional recording engineer, mixer, and bass player based in Los Angeles. Ly and session drummer Shay Godwin provide master quality, custom drum tracks online at eDrumSessions.com.

Color Printing, Defined

When you need a commercial printer for your marketing collateral, it is but natural that your printing house would ask you a lot of questions about your requirements. Moreover, sometimes it can be difficult to answer most of them questions if you are not familiar with the words. In addition, most of the time, the terms can be a bit confusing for a nonprofessional like yourself.

One of the most common questions is whether to use color printing for your job. Your printing firm would definitely be asking you if they are going to use color for your print job. This is because if color is one of your requirements, then there is a whole busload of details that they would need from you.

So let us first define what color printing means

Obviously, when you say color printing there is definitely the application of color in your print job. According to Wikipedia.org, it is the method of reproducing your image or text in color. It is not application of black and white or even monochromatic scheme but an infusion of most of the colors you see in the spectrum.

When you use a full range of colors to reproduce a color image or picture, then what you have is a four-color process printing. It usually applies the CMYK as its primary ink colors. CMYK stands for cyan, magenta, yellow, and black. Then there is the six-color process printing that applies a system that adds the colors orange and green to the CMYK for a wider range of shade.

You also have the ‘spot color’ inks, which you can use either alone or in combination with the four-color printing process. Spot color is so termed because you do not have to mix different shades and hues to create a particular color. The spot color inks can be printed on their own. Printers frequently use spot color compared to the four-process printing because of its unlimited and varied color inks that are available.

Therefore, the next question from your commercial printer would be whether to use spot color or the process colors, or even a combination of the two. As color is one of the essential elements to be considered in the reproduction of your marketing collateral, you need to decide which among the three would be appropriate for your needs, and more importantly, to your budget.

Do you need process colors? Alternatively, spot color would be suitable to bring out the brilliant shade of your images. On the other hand, would you prefer to use both?

Knowing the answers to the above questions would definitely save you money and time for your next marketing collateral.

About the Author

For more information about color printing and its definition, contact color printing experts.

How long does it take for a single process dark hair color to fade a bit?

My hair is naturally a chestnut, dark shade of brown. I've been getting partial caramel highlights on my crown for the past few years. On the recommendation of my hairdressser, the last time I went, she did a single process of a dark shade throughout most of my hair. She did some highlights on top. She told me that my highlights will really "pop" or stand out in another week or two, as the single process color will fade a bit. To me, my hair looks very dark right now. Does anyone think the single process will eventually fade, or will I need to get some more highlights soon? I've had this for about a week.

It will eventually Fade. I did a darker color (M. brown) over highlights Blonde) and they did eventually pop out about 3 weeks. Same for a friend of mine who had the colors your speaking of they "popped in about 2-3 weeks. This also depends on how much you are washing your hair. Obviously the more you wash the quicker the color will fade. wait another week before you dye your hair, it needs a rest anyway. Good Luck.

Processing Image Pixels using Java, Getting Started
This lesson is the first lesson in a new series intended to teach you how to use Java to create special effects with images by directly manipulating the pixels in the images.

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