Compression - Come laugh at my question

[CanopuS]

OK, I admit, my knowledge is limited. I admit, I didn't have much luck in searching. I know what compression is, I know the idea behind it, but what I really want to know is: does it REALLY make that much difference? Compressors cost an awful lot of money (well in my terms) and I don't quite see why they are so important, surely if the musicians are good enough to keep the levels balanced, all is well Has anyone got two tracks with compression and non-compression to see the difference?

Sorry for taking up your time. Ignore at will

[Han]

A compressor/limiter is like an extra very fast hand on the volume knob or fader.

Depends on the kind of music and whether you can mix automated or not, but for jazz I don't use any compression.

A decent compressor can make a sound like vocals 'fit better in the mix'.

Compression gets overused these days, especially by 'mastering engineers', which lead to very loud, but very flat sounding CD's that even distort like hell. (Absolution by Muse)

A vintage compressor like a fairchild was used as a doorstop 15-20 years back, but now goes for $30k and it's a pain in the ass to maintain.

[noiseportrait]

A compressor is not absolutely necessary, but I couldn't imagine not having one. Rock bass guitar is usually always compressed. It gives it a nice fat punchier sound. Drums are often compressed for the same reason. A little bit of vocal compression can also be used to control wandering volumes on the vocal track. And finally, to really get that smoothed over commercial sound most studio records are heavily compressed at the mastering stage. This is where it is often overused.

I personally feel a compressor to be essential to my recording setup. You can buy a FMR RNC for about 175 bucks. This is the best compressor you will find in the lower price range. I wouldn't even look at anything else sub $200. That's less money than you'd pay for many of the budget mics often recomended here. If I only had an sm57 and I had to choose between the FMR RNC or a budget vocal mic for the same price, the RNC would win hands down.

However, if you are only recording jazz music or acoustic guitar and vocals a compressor becomes much less necessary.

[Big Kenny]

I even compress my acoustic a little......makes it fuller, less sterile
In His Name
Big Kenny

[chessrock]

Well . . . do you ever listen to the radio and kinda' hear a difference between the songs you're hearing and your own? A lot of it has to do with compression. It's the sound of modern pop music. Particularly, have you noticed how pop vocals just seem to have this thickness and "up-front" quality to them -- like they're popping right out of the speakers and invading your personal space?

Have you ever listened to a jazz drummer, and then listen to Led Zeppelin, and noticed there was somehow a difference in the sound? That's kind of an exaggeration, but compression is a big part of the difference you're hearing. Aside from being the sound of modern pop, it's also the sound of bigger-than-life, explosive drum sounds . . . particularly rock snare (the kind that sounds like a gun shot).

[musikman316]

Compression on the radio is not the compression that was used in the studio... no matter what goes on the radio it gets the shyte compressed out of it... so listening to the radio for compression is a moot point. Compressors are one of the few pieces of equipment that can get overused (in my opinion, but I do a lot of indie rock and we tend to overly effect things for a certain sound). To really hear what a compressor does you'll need to find one that can really pump a signal, squash the crap out of it and then bypass it...

And as a devils advocate on the "don't use compression on jazz" I play in a jazz band and usually use a good bit of "New York" compression on the drums. I also tend to compress my guitar with an LA-2A just a bit for the sound alone. And if I'm in a studio with a Fairchild I'll always use it on the bass, not really for compression, just for the sound it puts out.

Later,
musik

[Han]

Originally posted by musikman316
And if I'm in a studio with a Fairchild I'll always use it on the bass, not really for compression, just for the sound it puts out.

Later,
musik

Very little studios have an original Fairlight and from those who have it, very little are in good order.

I believe it has 27 tubes and eight of them are equal, so you have to find a matched eight tubes every now and then, which is almost impossible.

I've read somewhere that Bob Ohlsson said that in the Mowtown studio, the Fairchilds were retubed twice a year.

Nice compressor tho.

[CanopuS]

Thanks everyone! Looking at the basic mechanics of a compressor, when you say a "punchy sound" is that just because all levels are pretty much evened and then boosted, or does it actually affect the tone? It's annoying to have to consider yet another piece of equipment to add to the studio

[Wireneck]

"when you say a "punchy sound" is that just because all levels are pretty much evened and then boosted, or does it actually affect the tone?"

It really depends on the compressor when it comes to coloring the signal. Some compressors work more cleanly than others and they each have their own sound (like mic pres).
When you think of "Punchy sound" think more FOCUSED. Its alot easier for a kick drum to knock a hole in your chest if its consistently hitting rather than hitting hard on one beat and then tapping on others.
I can't imagine not owning at least one compressor. I recommend that you pick one up and just start experimenting, I think you will eventually view it as "not just another piece of gear you have to buy" but as a valuable tool in your recording setup.

[bsanfordnyc]

It was already mentioned, but I think worth emphasizing:

Compression will work miracles on your vocals.

Most amateur singers just can't sing with perfect volume control and microphone awareness to get the vocals perfect for the mix.

That's where compression comes it. You can get the vocal volumes PERFECT no matter how soft or loud he was singing, or how close he got to the mic when he screamed, etc...

So go ahead and buy one, and crank that bitch up on your vocals...you'll never again want to go without.

[vox]

Originally posted by CanopuS
.....I don't quite see why they are so important, surely if the musicians are good enough to keep the levels balanced, all is well ......

A musician who can do that is VERY,VERY rare, especially in the home rec'ers arena.

[Massive Master]

If it helps, I work with pro musicians & vocalists all the time. Touring acts, Grammy winners, yada, yada, yada.

Most of them STILL benefit from creative compression. True, many of them don't "need" it, but a whisker of reduction or some timed limiting can work wonders... Also, certain compressors just add that "special something" that many voices (and instruments) beg for in a mixing situation.

So, in answer to the original post, get compressors. Eventually, get lots of them. Many have unique personalities and temperments. They are the spice to the chef. If you're working on a DAW, I would highly recommend the UAD-1 card. It has a few emulated classic compressors on it that will blow your mind.


John Scrip - www.massivemastering.com

[chessrock]

Originally posted by Wireneck
"when you say a "punchy sound" is that just because all levels are pretty much evened and then boosted, or does it actually affect the tone?"

Used the right way, it actually effects the tone by allowing the very beginnings of the notes and/or transients "jump out" a little more, so things can sound more defined, powerful, and with greater punch. And I say can because it all depends on how it's used.

[littledog]

Compressors can be used for so many different things, it would require a lengthy chapter to scratch the surface. The short answer to your question is that they are one of the most useful tools in an engineer's arsenal, assuming one knows how to use it.

Regarding tone shaping - there is a whole spectrum of possible ways to use a compressor for this. As Chessrock said, you can use it to accentuate the attack transients, but you can also use it for exactly the opposite: i.e. you can use compression to drastically attenuate the attack transients and increase the sustain of a note or sound.

[DaveO]

To address one of the original questions - are there any examples of compressed and uncompressed tracks - there is a great article written by a Homerecording regular.

The article is now at The Recording Project. Here's the link ...
Moshe Wohl's (Shailat) article on compression and limiting


There's also another great article by another Homerecording regular, also available at The Recording Project. Here's the link:
Ed Rei's (sonusman) article on the compressor

[rvdsm]

Originally posted by CanopuS
Has anyone got two tracks with compression and non-compression to see the difference?

This is a recording that doesn't have any compression at all. It's a 2-track recording to minidisc.

Compare that against most anything and I think you'll see how compression can really help.



** A special note to anyone who can't wait to critique the mix. It's punk. Deal with it!