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Sorcerio
New member
I'm just now beginning to understand what compression does to audio. Is it common to have an individual compressor on each channel of the mixer?
Dogman
Unkle Ticklefingers
Actually depends on the what you are doing. I don't compress overly dirty guitars. Sometimes, my bass won't need it either. My vocals, always...Sorcerio said:
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Sorcerio
New member
So I'm gathering that it is ideal to pick and choose your compressed tracks rather than running the full mix through a compressor.
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Btw, thanks for putting up with the noobish question!!
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Btw, thanks for putting up with the noobish question!!
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Kronpox
New member
I tend to use some sort of compression on most/all of my tracks, but often very weakly. Some tracks (bass, vocals) need heavier compression, while others (guitar) don't. I wouldn't recommend sending the entire mix into a compressor as a mix, though, no.
Dogman
Unkle Ticklefingers
The only time I run teh entire mix through a compressor, is a multichannel after I get the mix to sound good. This is also something I am still learning, so the results are kind of up and down. It can really show the bad points in a mix. I would get the mix sounding as good as possible first, with FX on each track, individually first. Don't hesitate to play around, as that is the best way to learn...hands on, and seeing what the FX actaully do. Just remember to save a good copy of your tracks somewhere...
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silentman
New member
Pick and choose...
Like another person said above, pick and choose where you use the compression. Typically, you want to use compression on instruments that have a large dynamic range (drums, vocals, most acoustic instruments miked directly) Bass guitar can usually stand some compression as well, but again, that really depends on how consistent your player is dynamically.
-JV
Like another person said above, pick and choose where you use the compression. Typically, you want to use compression on instruments that have a large dynamic range (drums, vocals, most acoustic instruments miked directly) Bass guitar can usually stand some compression as well, but again, that really depends on how consistent your player is dynamically.
-JV
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RAMI
Guest
Putting compression on the whole mix might or might not help. But I think it's then called "Mastering", which is a whole different specialty in itself.
FALKEN
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Sorcerio said:
There are a few consoles that do have this feature. I believe SSL consoles have this feature. Frederick is building a console with this feature in the studio building forum.
In a lot of mixes I hear, I would say, yeah, its common to have a compressor on every channel!!
What I have been doing lately is running everything to busses (drum bus, bass bus, guitar bus, vocal bus) and compressing each of those separately (except guitars because distorted guitars are already compressed). but drums, bass, and vocals bussed to their each own compressor has been sounding good (IMO the trick to comrpession is the release time, and each of those should have a different release time). sometimes you have to leave out the bass drum or do that one separately. depends on the attack and release time of the sound of the drum, etc....
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xstatic
New member
It really all depends on a lot of factors. First off, how well was everything tracked. Secondly, why are you using the compressor? Is it just because you have it, or is it because you hear something on the track that could benefit from a compressor. To expand on that, there are several reasons for using compression. The most common around here seems to be for volume control (dynamics). I prefer to not use compressors for that most of the time. I prefer to automate volumes... basically mixing. Sometimes I do use compressors for dynamic reduction though. It really depends on how the other tracks sit around it and how much the compressor is affecting this. The problem with compressors for dynamic volume control is that they are linear in the sense that they always compress when the threshold is hit. I prefer automation because it is easier to allow parts of a track to pop out or sink in without some machine deciding when and if it is appropriate.
Compressors however can also be used to shape the tone of a track, expand dynamics, or to shape the attack and decay envelopes of a track. Personally, this is how I prefer to use compression. I like using compression as a tool that becomes a part of the desired sound, and not as a tool to fix some sort of problem or symptom with a track.
In general, if you have to use a compressor on every channel, than there was probably some sort of problem during tracking. Most likely it would be due to poor musicianship (which is not the mix engineers fault, but does become his/her problem). It could however be due to poor tracking technique. Often this is caused by poor mic selection and por mic placement. Once again however, this may become the mix engineers problem to fix as many times retracking is just not a viable option.
Another thing that would change the way I personally use compressors is the quality of the compressors themselves. I have no problem throwing a compressor on the m ix bus, as long as it is a nice compressor that handles what I am asking it to do in a way that makes things sound better. If you are using a nice Manley, API, SSL or Drawmer compressor, I see no reason why it should not be used if desired. This is also assuming that it is being used in a way that will not be detrimental to future issues (such as mastering) by being applied in such a way that it is an enhancement, and not just a change in dynamics. Mastering is not just about compressing the 2 buss master. If thats all your "mastering engineer" thinks is his/her job, then you should be in the market for a better mastering engineer that actually understands the intricacies of their job. Mastering deals with volume control (be it dynamically or static), phasing issues, Minor (hopefully not major or the mix should be redone) EQ issues, fades, and overall sonic flow of an album. That is just a short list, but it can hopefully give you the overall impression of mastering. If a mix is done right, the master will be easy to achieve and the mastering will actually have a greater impact on the material in an enhancing sort of way.
Compressors however can also be used to shape the tone of a track, expand dynamics, or to shape the attack and decay envelopes of a track. Personally, this is how I prefer to use compression. I like using compression as a tool that becomes a part of the desired sound, and not as a tool to fix some sort of problem or symptom with a track.
In general, if you have to use a compressor on every channel, than there was probably some sort of problem during tracking. Most likely it would be due to poor musicianship (which is not the mix engineers fault, but does become his/her problem). It could however be due to poor tracking technique. Often this is caused by poor mic selection and por mic placement. Once again however, this may become the mix engineers problem to fix as many times retracking is just not a viable option.
Another thing that would change the way I personally use compressors is the quality of the compressors themselves. I have no problem throwing a compressor on the m ix bus, as long as it is a nice compressor that handles what I am asking it to do in a way that makes things sound better. If you are using a nice Manley, API, SSL or Drawmer compressor, I see no reason why it should not be used if desired. This is also assuming that it is being used in a way that will not be detrimental to future issues (such as mastering) by being applied in such a way that it is an enhancement, and not just a change in dynamics. Mastering is not just about compressing the 2 buss master. If thats all your "mastering engineer" thinks is his/her job, then you should be in the market for a better mastering engineer that actually understands the intricacies of their job. Mastering deals with volume control (be it dynamically or static), phasing issues, Minor (hopefully not major or the mix should be redone) EQ issues, fades, and overall sonic flow of an album. That is just a short list, but it can hopefully give you the overall impression of mastering. If a mix is done right, the master will be easy to achieve and the mastering will actually have a greater impact on the material in an enhancing sort of way.
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Sorcerio
New member
Soaking all of this in... 
pipelineaudio
Well-known member
Only one per channel??? 
Listen to some of the garbage the Conservatory/MixMag/Digidesign unholy trinity are foisting on the airwaves. Compressors on the way in, on every channel at mix, limiting sometimes, then a 2 bus comp/limiter, then take it to some crapass "mastering " lab to have it squished even harder
maybe easier just to record some white noise files, but make them different lengths and give them different titles, put a picture of the band on the CD and call it done
Listen to some of the garbage the Conservatory/MixMag/Digidesign unholy trinity are foisting on the airwaves. Compressors on the way in, on every channel at mix, limiting sometimes, then a 2 bus comp/limiter, then take it to some crapass "mastering " lab to have it squished even harder
maybe easier just to record some white noise files, but make them different lengths and give them different titles, put a picture of the band on the CD and call it done
Ford Van
Banned
I use as many compressors as is needed to make the audio behave. Or as many as I CAN use, then prioritize their use.
No rules. Just what helps you achieve what you want it to sound like.
No rules. Just what helps you achieve what you want it to sound like.
TexRoadkill
Audio Bum
pipelineaudio said:
You say that like it's bad thing
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Bob's Mods
New member
I generally use a small amount on vocals only. On the final mix I use a loudness maximizer conservatively. The loudness maximizer appears to better approximate pro recordings (to my ears at least) than the use compressors on the various main busses or a final mix compressor.
Bob
Bob
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xstatic
New member
It's also important to rmemeber that just because SSL's have compressors on every channel, that does not mean that they get used on every channel, or any channel for that matter.
7string
Well-known member
I think the important connection between all of the replies here is this:
Listen to the track. Does it NEED compression? Don't compress every track just to have compression on every track. If the track NEEDS it, compress it. If it DOESN'T need it, don't compress it.
Listen to the track. Does it NEED compression? Don't compress every track just to have compression on every track. If the track NEEDS it, compress it. If it DOESN'T need it, don't compress it.
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xstatic
New member
And even more importantly, I would be asking myself..."why do i think it needs a compressor". Is it just to avoid having to do some editing or a little automation?
Basically, i always try and make sure that I am treating the problem, and not just treating a symptom with another symptom.
Basically, i always try and make sure that I am treating the problem, and not just treating a symptom with another symptom.
LeeRosario
New member
Sorcerio said:
to answer that question directly, not really. It's like selling all your ferrari's in one color. You usually buy compressors as a seperate outboard unit(s).
Higher end large format consoles do tend to have those kind of features, but you have to consider that not all compressors act, sound or serve in the same fashion.
Ford Van
Banned
Most of the people who I know who mix really well, and the people who I respect their work, tend to use a LOT of compression, and in some cases, and EVERYTHING in a mix.
I kind of like this mix:
Just about every track had some compression, or like the toms, were fed to a buss with a compressor on it. The lead vocal actually has TWO compressors on it.
Then the whole mix was of course limited via a L3.
LOT'S of compression. Sometimes, that is just the sound for pop music! I would say, MOST of the time, that is the sound of POP!
I kind of like this mix:
Just about every track had some compression, or like the toms, were fed to a buss with a compressor on it. The lead vocal actually has TWO compressors on it.
Then the whole mix was of course limited via a L3.
LOT'S of compression. Sometimes, that is just the sound for pop music! I would say, MOST of the time, that is the sound of POP!
pipelineaudio
Well-known member
man that is a nice sounding track, but most importantly, what does she LOOK like?