approaches to Multiband Compression - your ideas please!

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MessianicDreams

MessianicDreams

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Heya,

Having recently aquired a multi-band compressor plug-in, i'm now starting to begin messing around with it. i'm pretty familiar with how it works and what the controls do, as i'm very familiar with using compressors.

I've read a few things on the internet about how to use mbc, and rather than a re-hash of that i was hoping for some rather more home-grown knowledge with some of those quirky tips and tricks that you wouldn't necessarily find in an article.

When do you pull out the mbc? what do you use it on - individual tracks, across an entire mix, uniquely during mastering or also when mixing? what sort of settings do you use in particular circumstances (obviously these will change depending on the program material)?

i'm hoping this will turn into an in-depth discussion on the implementation of mbc...

happy hunting!
MD
 
For a beginner MB compression user, think about it as something you use on material -- be it individual tracks or full mixes -- that has things that "pop out" at you from time to time that are mostly frequency-specific.

Probably the simplest and most common example of a MB compressor is the de-esser. When you consider the vocal track, the "ess" problem is something that 'pops out' at varying intervals (whenever the singer makes the "ess" sound), and it's frequency-specific, as the trouble exists mostly in the higher registers above 4 khz.

In that example, you use a MB comp / de-esser as a means to tame those peaks only within the frequency range(s) where the problems existwithout effecting everything else. Another good example might be bass guitar. You might notice -- especially if you play bass -- that there might be certain notes, that when you hit them, they suddenly stick right out and sound louder than everything else you've been playing to that point. And usually it's somewhere on the low-E string. MB compression can, again, be effective in dealing with those sorts of issues, because, again, you're dealing with something -- in this case, a note or a string -- that suddenly "pops out" every time you play it. And it resides in a narrow frequency range.

If you think about compression as sort of an intelligent, automated gain-riding control ... think about MB compression as an intelligent, automated EQ-riding control. Whenever the energy within a given frequency range reaches a certain threshold, the MB comp will automatically apply subtractive EQ to deal with / tame it ... after which time, it will return to normal.

These are the simplest examples, and most common uses of MB compression, so if you're new to the concept, I think it's important that you try and wrap your brain around those first, before you delve in to anything more complicated. Because once you fully master the idea/concept of it in those contexts, then the more complex stuff will eventually present itself to you, and when it does, it will be easier to learn and will make much better sense to you.

.
 
chessrock said:
For a beginner MB compression user, think about it as something you use on material -- be it individual tracks or full mixes -- that has things that "pop out" at you from time to time that are mostly frequency-specific.

Probably the simplest and most common example of a MB compressor is the de-esser. When you consider the vocal track, the "ess" problem is something that 'pops out' at varying intervals (whenever the singer makes the "ess" sound), and it's frequency-specific, as the trouble exists mostly in the higher registers above 4 khz.

In that example, you use a MB comp / de-esser as a means to tame those peaks only within the frequency range(s) where the problems existwithout effecting everything else. Another good example might be bass guitar. You might notice -- especially if you play bass -- that there might be certain notes, that when you hit them, they suddenly stick right out and sound louder than everything else you've been playing to that point. And usually it's somewhere on the low-E string. MB compression can, again, be effective in dealing with those sorts of issues, because, again, you're dealing with something -- in this case, a note or a string -- that suddenly "pops out" every time you play it. And it resides in a narrow frequency range.

If you think about compression as sort of an intelligent, automated gain-riding control ... think about MB compression as an intelligent, automated EQ-riding control. Whenever the energy within a given frequency range reaches a certain threshold, the MB comp will automatically apply subtractive EQ to deal with / tame it ... after which time, it will return to normal.

These are the simplest examples, and most common uses of MB compression, so if you're new to the concept, I think it's important that you try and wrap your brain around those first, before you delve in to anything more complicated. Because once you fully master the idea/concept of it in those contexts, then the more complex stuff will eventually present itself to you, and when it does, it will be easier to learn and will make much better sense to you.

.
Click to expand...

Good read man...
 
i had already read that article tarnation, very good stuff i think. informative, not too in-depth, well written.

very interesting response chess, i am familiar with the concept of how a mbc but it clears things up to see them written down in black and white like that. i can see many applications for mbc for fixing a particular problem, such as some of the ones that you've mentioned.

but i can also see a multitude of applications for mbc in a creative approach, you know as an "effect" to enhance a track..like pumping, or fattening up a specific spectrum etc.

good stuff guys!!

MD
 
aye... indeed...

in fact I find the SOS a veritable gold mine of information ;)

I can even understand some of it lol
 
chessrock said:
For a beginner MB compression user, think about it as something you use on material -- be it individual tracks or full mixes -- that has things that "pop out" at you from time to time that are mostly frequency-specific.

Probably the simplest and most common example of a MB compressor is the de-esser. When you consider the vocal track, the "ess" problem is something that 'pops out' at varying intervals (whenever the singer makes the "ess" sound), and it's frequency-specific, as the trouble exists mostly in the higher registers above 4 khz.

In that example, you use a MB comp / de-esser as a means to tame those peaks only within the frequency range(s) where the problems existwithout effecting everything else. Another good example might be bass guitar. You might notice -- especially if you play bass -- that there might be certain notes, that when you hit them, they suddenly stick right out and sound louder than everything else you've been playing to that point. And usually it's somewhere on the low-E string. MB compression can, again, be effective in dealing with those sorts of issues, because, again, you're dealing with something -- in this case, a note or a string -- that suddenly "pops out" every time you play it. And it resides in a narrow frequency range.

If you think about compression as sort of an intelligent, automated gain-riding control ... think about MB compression as an intelligent, automated EQ-riding control. Whenever the energy within a given frequency range reaches a certain threshold, the MB comp will automatically apply subtractive EQ to deal with / tame it ... after which time, it will return to normal.

These are the simplest examples, and most common uses of MB compression, so if you're new to the concept, I think it's important that you try and wrap your brain around those first, before you delve in to anything more complicated. Because once you fully master the idea/concept of it in those contexts, then the more complex stuff will eventually present itself to you, and when it does, it will be easier to learn and will make much better sense to you.

.
Click to expand...


Hey chess you feelin all right? There wasn't a smart ass comment in that post. :D
 
flamin-gitaur said:
Hey chess you feelin all right? There wasn't a smart ass comment in that post. :D
Click to expand...

Actually, I just noticed that, and I'm going to have to edit my last paragraph as a result. How's this? :

"These are the simplest examples, and most common uses of MB compression, so if you're new to the concept, I think it's important that you try and wrap your brain around those first, before you delve in to anything more complicated. I say this in an effort to avoid injurying your brain, as I realize most of the guys on this board have a hard enough time with the whole sm-57 versus sm-58 debate, and what color mic cable they should use for their next rap CD. Because once you fully master the idea/concept of it in those contexts, then the more complex stuff will eventually present itself to you, and when it does, it will be easier to learn and will make much better sense to you. As doubtful as that may be, although we can all dream, can't we?" :D

.
 
chessrock said:
Actually, I just noticed that, and I'm going to have to edit my last paragraph as a result. How's this? :

"These are the simplest examples, and most common uses of MB compression, so if you're new to the concept, I think it's important that you try and wrap your brain around those first, before you delve in to anything more complicated. I say this in an effort to avoid injurying your brain, as I realize most of the guys on this board have a hard enough time with the whole sm-57 versus sm-58 debate, and what color mic cable they should use for their next rap CD. Because once you fully master the idea/concept of it in those contexts, then the more complex stuff will eventually present itself to you, and when it does, it will be easier to learn and will make much better sense to you. As doubtful as that may be, although we can all dream, can't we?" :D

.
Click to expand...

mmmmmmmmm reading that is like taking a good sh*t.
 
multiband compression is also good for drum mixes. if your band is short on recording inputs and you are recording a live show multiband compression can help keep that kick drum from overpowering the mix.
 
chessrock said:
Actually, I just noticed that, and I'm going to have to edit my last paragraph as a result. How's this? :

"These are the simplest examples, and most common uses of MB compression, so if you're new to the concept, I think it's important that you try and wrap your brain around those first, before you delve in to anything more complicated. I say this in an effort to avoid injurying your brain, as I realize most of the guys on this board have a hard enough time with the whole sm-57 versus sm-58 debate, and what color mic cable they should use for their next rap CD. Because once you fully master the idea/concept of it in those contexts, then the more complex stuff will eventually present itself to you, and when it does, it will be easier to learn and will make much better sense to you. As doubtful as that may be, although we can all dream, can't we?" :D

.
Click to expand...


Thats more like it!!!! Had me worried there.
 
I use this method every time and it delivers amazing results...consistently. It's amazing how transparent it sounds!




Step 1:

"Pull up a multiband plug-in and study it carefully"


Step 2:

"Throw it away and continue mixing"
 
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