Black 76 & White 2A Explained®
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6:34 Black 76 Controls
Learn how the controls and interface work for the Black 76 compressor.
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3:50 White 2A Controls
Get an overview and introduction to the White 2A interface and controls.
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7:36 Electric Bass
See how the two compressors each work on sampled electric bass. The quick attack and release times on the Black 76 can yield some distortion that, if used judiciously, can add some sonically interesting dirt and grit to the bass sound. The White compressor's slower and smoother attack and release adds body without distortion to the sound.
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6:06 Electric Guitar
Watch as different compression is applied to both rhythm and lead parts. The quick attack of the Black 76 that doesn't work well on the rhythm, brings out a nice percussive quality to the lead.
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6:38 Drums
Watch as the two compressors are applied, with various settings, on the various elements of a multi-tracked drum kit.
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6:55 Vocals
The Black and white both have their places on either lead vocals or group vocals. Here we'll combine the two in order to maximize the benefits each can contribute to creating a solid overall vocal blend.
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6:57 Final Mix
The smoother attack and release characteristics of the White make it useful for smooth mix bus processing. Lowering the level arriving at the mix bus allows you to use the color of its sound without over compressing.
Product Overview
Need a squeeze? Eli Krantzberg breaks down IK multimedia's awesome Black 76 & White LA2 compressors in this power packed micro series. Learn all about these amazing beasts of compression and how to use them on bass, guitar, drums, vocals and even a final mix!.
If you use these fantastic compressors, take a closer look under their hoods, your instruments will thank you... Watch "Black 76 & White 2A Explained" today...
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Reviews
Submitted 1 year ago
Interesting comparision of compressor types
Gave a good understanding of why the two different compressor types would be used
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 3 years ago
Useful
I bought the course years ago but only had the time to check it out in full now. A straightforward enough explanation of the two compressors / limiters, but I would not have minded a slightly more in depth analysis of some features. I'm unsure of the degree to which these plugs add harmonics and bring in some changes in a sound's frequency signature. This can matter a lot when using a lot of these compressors in a mix, but what are the effects and how should I use them best to my advantage? I'd also have appreciated a short note on what uses M/S can be, e.g. on a full mix. I very much like hearing the examples, and this is really what makes the video helpful. I would have liked to listen to the examples at a slightly higher volume setting, but then Eli's voice started booming in my room - perhaps the volume level of the examples could be adjusted with a bit more gain so I don't have to keep adjusting it here just to be able to really hear the examples?
I am a: Semi-Pro
Ease of Use Quality of Videos Value of Training Access to Videos
Reviews
Submitted 1 year ago
Interesting comparision of compressor types
Gave a good understanding of why the two different compressor types would be used
Submitted 3 years ago
Useful
I bought the course years ago but only had the time to check it out in full now. A straightforward enough explanation of the two compressors / limiters, but I would not have minded a slightly more in depth analysis of some features. I'm unsure of the degree to which these plugs add harmonics and bring in some changes in a sound's frequency signature. This can matter a lot when using a lot of these compressors in a mix, but what are the effects and how should I use them best to my advantage? I'd also have appreciated a short note on what uses M/S can be, e.g. on a full mix. I very much like hearing the examples, and this is really what makes the video helpful. I would have liked to listen to the examples at a slightly higher volume setting, but then Eli's voice started booming in my room - perhaps the volume level of the examples could be adjusted with a bit more gain so I don't have to keep adjusting it here just to be able to really hear the examples?
I am a: Semi-Pro
1. When did you start dabbling in music?
I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.
These great players, along with drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me.
2. What training have you had?
I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music.
It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.
3. When did you get into recording?
It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior.
I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools.
4. People you have worked with/for?
Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!
As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer.
5. Why are you so good at training people?
I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.
Products by Eli
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Eli Krantzberg returns, this time showing you the incredible AAS Chromaphone creative percussive synthesizer. This synth is capable of creating incredibly expressive drum, percussion, string, and synth-like instruments, so hold the phone and check it out!
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tutorial videoAAS Strum GS-2 Explained
In this FREE series commissioned by Applied Acoustic Systems, Eli Krantzberg covers the expansive performance library of electric and acoustic guitar strumming inside and out, and shows you how to make Strum GS-2 your new favorite session guitarist!
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tutorial videoAirEQ Explained
Eli Krantzberg returns with an in-depth series on the amazing AirEQ by Eiosis, which was designed with a vision of achieving musical, technical and sonic excellence in equalization. This just might become your to go-to EQ!
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tutorial videoAlchemy 2 Explained
Logic Pro X 10.2 integrated Alchemy 2, one of the most powerful virtual instruments ever made. In this three-hour video training tutorial series, Eli Krantzberg teaches you how to become a Alchemy wizard and unleash all of its power on your music!
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tutorial videoAmple Sound Super Jumbo Explained
Eli Krantzberg presents a detailed series of Super Jumbo tutorials! Learn Super Jumbo, Ample Sounds’s incredibly realistic virtual acoustic guitar instrument inside and out, as well as how to use it creatively.
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