Compression to control dynamics... Tracking problem or Overall problem?

Change of POETS

New member
Hello all.

I have a client, in a genre of music I'm not all to familiar with...

He's a John Mayer-ish sort of Dashboard Confessional mix or something of the sorts. Anywho... I'm having some issues on some mixes, mostly on his acoustic guitar stuff.

I'm getting a good clear sound when tracking the guitars. I'm tracking the guitar in stereo with a Dynamic and a condensor. It's giving me a great sound, however... My trouble is that the guitar's dynamics are so large, I'm losing some of the delicacies of the playing.

Considering I'm not used to working in this genre, I'm wondering how to go about controling these dynamics. I've tried some subtle compression, and I really like the sound it's giving me. But, the client has some weird issue about compressing the guitars in the mix, and again during mastering. :confused:

My stance is... I'm the engineer, let me do my job and make it sound great. But then again, he's the one paying me....

Opinions? Should I just use subtle compression to massage the dynamics of the acoustic guitar? Or should I try vlume automation or something? I really would prefer to not do the latter, as I often dislike the sound it produces on other things...

Thanks.

-Brian
 
SouthSIDE Glen said:
Use the compression and lie to the client.

G.


EXACTLY. i was gonna say the exact same thing, then i read SSG's post.

seriously if it sounds better, just tell him you didnt use any compression.

it's all part of the job, and you know what works and what doesn't. :cool:
 
Agreed with the above - I think what your client apprehensive is that subtle compression is becoming a lost art. He equates compression with squashing, which is what a lot of engineers do at mastering nowadays.

Sometiems I wonder if the 'soft knee" settings oughta be replaced with a "knee-jerk" setting......
 
Change of POETS said:
... My trouble is that the guitar's dynamics are so large, I'm losing some of the delicacies of the playing.
Ride the fader (or automate it)?
If it was the vocal for example wouldn't it be sort of on the short list of things to do?
 
Change of POETS said:
the client has some weird issue about compressing the guitars in the mix, and again during mastering.

Suggest that he learn how to consistantly control his dynamics when recording.

My guess is he doesn't have a lot of experience, or he wouldn't be telling you how to do your job when he's not doing his.
 
ez_willis said:
Suggest that he learn how to consistantly control his dynamics when recording.

My guess is he doesn't have a lot of experience, or he wouldn't be telling you how to do your job when he's not doing his.

Then kick him in the ding-ding and throw him out. :p
 
ez_willis said:
Suggest that he learn how to consistantly control his dynamics when recording.

My guess is he doesn't have a lot of experience, or he wouldn't be telling you how to do your job when he's not doing his.


Yup, he's a high-school kid trying to cut a demo CD before he graduates in a few months.
 
Change of POETS said:
The client has some weird issue about compressing the guitars in the mix, and again during mastering.

Let me guess... He wants it to sound as "real" as possible... Or as "natural" as possible... Well, at least he's on the right track (as far as having a vision for the sound is concerned).
 
SouthSIDE Glen said:
Use the compression and lie to the client.

G.
lol
Thats cruel.
What happens when he turns round and says, I can blatently hear the compression on certain parts?

Id use volume automation and maybe some very light compression on the master out so it isnt actually on the guitar itself. :)

Eck
 
Ahh, silly me.
The client dosent want it on the master out either.
Mmm, alot of well done vol aut.

Eck
 
SouthSIDE Glen said:
Use the compression and lie to the client.

G.


If he asks just tell him you have an EQ plugin that is fucking amazing...(and then laugh to yourself when he gives you the money)
 
Change of POETS said:
Hello all.

I have a client, in a genre of music I'm not all to familiar with...

He's a John Mayer-ish sort of Dashboard Confessional mix or something of the sorts. Anywho... I'm having some issues on some mixes, mostly on his acoustic guitar stuff.

I'm getting a good clear sound when tracking the guitars. I'm tracking the guitar in stereo with a Dynamic and a condensor. It's giving me a great sound, however... My trouble is that the guitar's dynamics are so large, I'm losing some of the delicacies of the playing.

Considering I'm not used to working in this genre, I'm wondering how to go about controling these dynamics. I've tried some subtle compression, and I really like the sound it's giving me. But, the client has some weird issue about compressing the guitars in the mix, and again during mastering. :confused:

My stance is... I'm the engineer, let me do my job and make it sound great. But then again, he's the one paying me....

Opinions? Should I just use subtle compression to massage the dynamics of the acoustic guitar? Or should I try vlume automation or something? I really would prefer to not do the latter, as I often dislike the sound it produces on other things...

Thanks.

-Brian


Have you tried NY compression? What about two compressors in the same chain? Or a completely different compressor all together (your most transparent)? EQing it to be more present in the mix? Limiting? You could automate everything, but that can turn ugly real quick.

It's more a matter of interpreting what your client is saying. He's not saying, "don't compress my guitar". He's saying, "just do whatever it takes to make sure my guitar sounds right in the mix without the side effects". It dosn't get more complicated than that.

I'm not too keen on lying to customers. I prefer on trying different approaches and honestly laying out to the customer what I am doing to improve the situation. Don't keep your client in the dark.
 
Do tow mixes of one of the songs; one his way and one your way. Let him hear them both and decide which one he likes best. There are two factors to consider; he is paying you for your experience and equipment but it is still his project. Maybe he has a sound in his head that you're not hearing or that you just don't agree with. If it's impossible to work with his dynamics then let him know that. If it's just because you don't think it sounds good then let him know that; but he still has "final cut", as it were.
 
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