Would be nice to see something a bit more organized in the way you explain things, this video taught me a bit, but I got fairly confused later on in the vid due to the inability to hear you guys well and the chatting got me distracted.

Would be nice to see a follow up explaining what kind of setting are generally used for what type of recordings, such as, I know a Faster attack and slower relese is generally used from drums, and a so on, explain the Threshold and Ratio a bit more and how one an other react with each other and then give some examples, maybe pics? video of the said settings, not as a referance but an example.

Personally I have a dbx 266XL Compressor/gate, and it has an expander/gate control with Thres and ration, and then a separate Thres, ratio, attack and release and output gain for the actual compression (as well as their signature "overeasy" setting which really gets complicated with things, lol).
Usually I just play around with the sound till I find what I like, then work with it, Id just find actual examples and samples to be more helpful in getting some insight, rather than just chat.

Nice vid to see though guys, thx!

Yea we're planning on doing an more in depth video on compression in the future. That video was just a basic overview of what a compressors controls do and how a compressed instrument sounds compared to an uncompressed one.

I didnt understand the chain that u said on the EP56 - Joe Meek FloorQ Review.
U said that ur outputs of ur fast track ultra wasnt good enough so you take the output to the reamp box and then to the floorq then u said the output of the floor qto ur interface ?¿? input to the interface?¿? an then u unplugged it to go to ur amp hmm but so why u go to ur interface again ¿? wheres the instrument here? and why that loop to your interface..

For that scenario we were talking about using the FloorQ not as a compressor, but as a preamp to boost the signal for re-amping. The Fast Track Ultra on it's own doesn't send out a hot enough signal to the re-amp box in order to get a realistic sounding recording, and the only way to remedy that problem is to use a signal boost after the re-amp box to boost the level. If you listen to my re-amp shootout in our "Shootouts/Comparisons" sub forum here you can hear the difference between the re-amp without a boost, and the re-amp using the FloorQ as a boost.

The loop we talked about was used to set the level of the FloorQ's boost in order match the level coming into the interface as close as possible to the outgoing level of the guitars DI track.