Double compression?

Jack Russell

Jack Russell

I smell home cookin!
O.k., here' something I've done off and on, and I wonder if this is WRONG according to the book or not.

I will record vocals, guitars, and bass on each track separately, and I'll use a compressor for each as the take is going down. Light compression actually.

Then, when I mix, I will compress some of these tracks again. Usually vocals and bass. I will use a ratio of about 2:1 on the take, and then another 2:1 ratio on the mix down. In each case, I will set the threshhold so that not all the sounds are compressed, maybe 75%.

I think this helps even out things, without the compression sounding obvious.

Am I breaking a rule here?
 
I like to do it to cloned drum overheads and room mics. If it sounds great, use it. If it sounds crappy, lose it.
 
I've compressed tracks more than once, if that's what makes it sound better...like my vocals... :D

I've also just recently started playing drums, and have compressed teh tracks individually, mixing into a stereo track, and I might compress that a bit more, when trying to mix it into a song.
 
I almost always do that with bass and vocals. The compression during recording is to even out the performance and/or get the sound of the compression. The compression during mixing is to make it sit in the mix the way it needs to.

Depending on what I am trying to accomplish, the ratio and attack/release settings change.
 
Farview said:
Depending on what I am trying to accomplish, the ratio and attack/release settings change.
Click to expand...

Aha! Those little knobs that you can press in and out! Yes, yes!

I have no idea what they do. :D
 
Jack Russell said:
Aha! Those little knobs that you can press in and out! Yes, yes!

I have no idea what they do. :D
Click to expand...
Those buttons are the secret to the universe.
 
I do the multiple layers of compression all the time.
I put a mild amount each time. I may run a vocal or bass track 4 or 5 times with 2:1 or 3:1 compression hitting maybe 2-5 db reduction, just to make the tracks sit more consistant in the mix.

Generally if done right it wont kill the track or make it lifeless.
Sure makes it easier to mix.
 
When dealing with a player (especially drummers) that are all over the place, I may compress the snare with a 1.5 or 2 to 1 ratio first, and then have a limiter with a higher threshold to tame those really stupid hits that are loads louder than everything else.
 
I have heard of that method, but lately I have thought, wouldn't it make more sense to limit the stupid peaks first, so that the compressor works more 'evenly' and isn't affected by them?
 
FALKEN said:
I have heard of that method, but lately I have thought, wouldn't it make more sense to limit the stupid peaks first, so that the compressor works more 'evenly' and isn't affected by them?
Click to expand...

The limiter is more noticable, and if you used it before the compressor, you wouldn't need the compressor (nothing peaks above the limiter). The compressor first smooths the wave out, then the limiter gets any stray peaks that are still too loud.
 
FALKEN said:
wouldn't it make more sense to limit the stupid peaks first
Click to expand...
That's what I like to do. Then I use a compressor only if I want to fatten up something like drums or bass.
 
FALKEN said:
I have heard of that method, but lately I have thought, wouldn't it make more sense to limit the stupid peaks first, so that the compressor works more 'evenly' and isn't affected by them?
Click to expand...
Yup. You still have to have the threshold of the limiter set higher than that of the compressor so it only gets the really big stuff. You want the limiter to leave most of the audio alone.
 
I can see either way having it's place (or logic). Maybe even depending for an example how fast the low ratio side is.
How about for a final mix, brick wall last.
 
Farview said:
Yup. You still have to have the threshold of the limiter set higher than that of the compressor so it only gets the really big stuff. You want the limiter to leave most of the audio alone.
Click to expand...
Good point there with the offset in thresholds. The other way to consider is that (if) the comp is set slow it's less likely to see the quickies.
Interesting. :)
 
mixsit said:
Good point there with the offset in thresholds. The other way to consider is that (if) the comp is set slow it's less likely to see the quickies.
Interesting. :)
Click to expand...
Each compressor in the chain needs to have it's own job to do. Thge limiter will grab the peaks that will choke the next compressor. That compressor is set to color the audio with (for example) a medium attack and release. Another compressor can be used as a leveler with a slow attack and release.

All the compressors doing different things and none of them is doing the whole job on it's own. This way, you can really smooth things out without all the artifacts of making one compressor do it all.
 
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