Are you over-compressing your tracks?

[miroslav]

I got a newsletter email with mixing "tips" from Waves, and one of the topics was about over-compression.
I see a LOT of people here always saying to others, "You don't have any/enough compression, you need do add compression to this and that" ...and it has become like some sort of magic process (or at least some folks seem to think so).
Not saying don't use compression...but frankly, I don't see a need to slap compression on every track, and the mix, almost as a default mixing requirement.
Let things breathe a bit.

So here some tips from Waves....

7 Tips to Avoid Over-Compressing Your Mix | Waves

 

[andrushkiwt]

Decent read

 

[keith.rogers]

I'm probably guilty of this, though I think I'm getting better. I still tend to use a compressor everywhere because I like the sound (using the old models in Logic Pro X's compressor), though I've been working on getting better takes when it's my playing/singing that's at fault, and applying light compression just on peaks, with as little make-up gain possible. Honestly, I don't think it's a horrible practice if properly applied, especially if it's just a quality you're looking for, since most old recordings had some natural compression due to the analog hardware in the path. It's just so easy to abuse when we're faced with less than perfect performance techniques .

Some of this less hevay-handed use has actually been due to an awareness of how the squeezing of the individual tracks inevitably results in an overall mix that doesn't have much dynamic range to work with, e.g., when trying to get to an appropriate loudness for video.

 

[bluesfordan]

I read that and I learned a lot from it. I will be revisiting that often. In a way I was already applying some of the principles. I really like the part about how to place a track in the sound field by compression.

 

[songsj]

And it gets even more complicated with all of the mutiband compressors that not only change volume but tone as well. A person can get amazing results with these as well as a world of hurt if overused or used incorrectly.

 

[zamakli]

Is it doing a similar kind of job to Audioleak? Although I'd guess this is what the offline version does.. Looks like the Mac version isn't fully up to date (No offline function), but i'll give it a go. Thanks

 

[jkuehlin]

I still tend to use a compressor everywhere because I like the sound

I do too!! I'm always game for a shit ton of compression if the person is half way intelligent on how they use it and its applied in a meaningful way.

I'm highly aggressive with this stuff on parallel drum busses. I have a pretty in depth thread on how I use if you search for 'setting up a drum bus' or something like that. I use brutal amounts of pulverizing compression along with saturation on a crush bus from units like the 1176 with all buttons in, the Distressor set on Nuke, an API 2500 in 'loud' mode smashing the fuck out the low end of the spectrum in particular (which by the way the API 2500 patented to do in a way that no other compressor on the market can).

For smooth, breathy, open, transparent compression, I love the Neve 33699, the Manley Vari-Mu, the Shadow Hills, and the Fab Filter. I also use the Tube Tech CL1B quite a bit. I also really like the Chandler Zen limiter for the not-over-compressed sound. My vote for the smoothest most transparent compressor ever built goes to the Shadow Hills through. If you ever have the chance to hear one of those things, I don't know of anything anyones ever invented quite like it.

 

[jkuehlin]

And it gets even more complicated with all of the mutiband compressors that not only change volume but tone as well. A person can get amazing results with these as well as a world of hurt if overused or used incorrectly.

MBC's are one of the most powerful tone shaping tools you can possibly use to achieve a modern relevant not-dated sound. An MBC can be the difference between a highly compressed vocal that still breathes naturally vs one that sounds like a squashed pumping and sucking piece of horse shit. The Waves C6 was one of my desert island plugins for a while. I'm starting to use the F6 more in its place.

 

[Nola]

I have the opposite problem and don't use any compression (I'll automate and manually de-ess, etc), so the mix never glues entirely. I'm trying to fix it and using just enough to tame spikes and get the glue, but I just don't like compression. The sound of old jazz records where everything is so open is just great. Does anyone write articles about under-compressing your tracks??? I need one of those.

 

[miroslav]

... to achieve a modern relevant not-dated sound.

We've kinda kicked this around a bit in another thread...but I think the over-compressed "modern relevant" sound is not so modern or relevant anymore.

Oh sure...there's still a lot of it around, since those things tend to be like overloaded freight-trains trying to come to a stop...but you can hear modern/new bands who are stepping away from that with more natural/open mixes.
Not saying that no compression is ever being used...just not that "slam everything" approach that was in use everywhere 10-15 years back.

Plus...I think the new streaming algorithms are pushing back on stuff that is over-compressed...which may be adding to a rethink of current production approaches, though I think it's mostly a change in the overall sound more people are after now...IMO.

 

[jkuehlin]

We've kinda kicked this around a bit in another thread...but I think the over-compressed "modern relevant" sound is not so modern or relevant anymore.

Oh sure...there's still a lot of it around, since those things tend to be like overloaded freight-trains trying to come to a stop...but you can hear modern/new bands who are stepping away from that with more natural/open mixes.
Not saying that no compression is ever being used...just not that "slam everything" approach that was in use everywhere 10-15 years back.

Plus...I think the new streaming algorithms are pushing back on stuff that is over-compressed...which may be adding to a rethink of current production approaches, though I think it's mostly a change in the overall sound more people are after now...IMO.

I do remember that. If I recall correctly you were mainly talking about the indie sound....correct? Weren't we talking about non-professionals or semi-professionals with a smaller non-mainstream market reach going toward that sound? (NOTE: I'm consciously attempting to not phrase that in a way that sounds demeaning.)

So speaking in the context of music mixing (forget about broadcast, film, games etc...), how would you define current? Take this list - or any RIAA list of top 100 and you'll certainly find immense loads of compression all over it. Which tracks do you believe are not lathered with layers of compression all over the busses and single chains? Here's a top 100 list:

Top 100 Songs | Billboard Hot 100 Chart | Billboard

 

[miroslav]

I do remember that. If I recall correctly you were mainly talking about the indie sound....correct?

Yes....and certainly not the Pop mainstream or game/TV audio.

So course, if you just look at the BB 100....that's certainly where all that over-done stuff is still found, because corporate structure always takes a few extra years to catch on to what is happening down at the artistic cutting edge...and then they often latch on to it just as it's starting to fade, but then they proceed to beat it to death for another 10 years until it drills down into TV ads and what not.

I think even if you don't listen to the Top 100 or the more obscure Indie stuff, and you just read the trade rags, there is most certainly a big step away from pounding the shit out if audio...but it will take awhile for it to become "that period" in audio history...the over-compressed early "2K sound".