M
moresound
Loud Sun Studios
As it should be!
As it should be!
witzendoz
Senior Member
There is compression and there is compression, considering there is almost an infinite number of setting variations, you may just be doing it wrong. Thats what I talked about before, I just use a small amount of bus compression 1:2 or maybe 1:3 ratio (depending on the type of music), if the compressor has a "soft knee" setting use it, set the threshold so that it just acts by compressing a couple of db on the loudest parts. Don't be tempted to slam it to make it loud, the getting it louder part comes in mastering when you use a different set of tools.
Alan
M
mixsit
Well-known member
Hell how bout 1.3:1!
(No soft knee maybe there on that one.
(No soft knee maybe there on that one.
M
mixsit
Well-known member
Step back. You're compressing a mix of different kinds of signals. Think about a) what's sticking out -in level (and perhaps tone, i.e. low end!) that might likely get grabbed. b) What shapes -time- (their envelopes- peaks, slower stuff?). Put those two together in your estimate as to what might happen.
How did you want to affect it? Some comp? Some peak limit? Both? (The two can diverge very easily. You may very well want to keep those two jobs separate rather than cover under one 'compression.
Now you can begin to approach picking what might be the speed of your attack to try, then release and take it from there.
This all assumes a full feature/enough rope to hang yourself comp. There's some classics that give you way less control but might be a perfect fit w/o going through all this.
Anyway, hope it helps.
Massive Master
www.massivemastering.com
Word to that.
I mix through a compressor more often than not - Usually for a little 'glue' and a little flavor. 1.2 or 1.3:1 with maybe a dB or two or gain reduction (if it needs more than that, something in the mix needs it more).
M
mixsit
Well-known member
With the exception of experimenting and trying some general stuff on roughs along the way I don't mix with it early' on generally. Although the early trials do help lead to having something useful picked out, I still prefer to work the mix with out mostly.
Now I also don't see it changing the mix all that much.
But that could be partly a cause and effect circle though; Mix with it- it's relied on more, and vise versa.
If we follow that logic though, then the tracks, maybe sub groups, are dialed in' more by that method (relative)
Also, I'm (often) not using a master comp to fit' or reign in the major percussive elements. As in attack times > 50, (often 100 + ? winging it here). Then a peak limiter to define the top head room gap. ( -no separate master run in this example obviously.
Now I also don't see it changing the mix all that much.
But that could be partly a cause and effect circle though; Mix with it- it's relied on more, and vise versa.
If we follow that logic though, then the tracks, maybe sub groups, are dialed in' more by that method (relative)
Also, I'm (often) not using a master comp to fit' or reign in the major percussive elements. As in attack times > 50, (often 100 + ? winging it here). Then a peak limiter to define the top head room gap. ( -no separate master run in this example obviously.
saads
Baka
I get what you guys are saying. I was reading up on compression and came across this:
"The key to making overall compression work lies in setting the compressor sympathetically. Typically, a little gentle, subtle compression is all that is needed, with a very low ratio (perhaps 1.5:1 or 2:1) combined with a low threshold, so that the compression is working most of the time over most of the song's dynamic range. I would ideally be looking for between 4 and 8dB of gain reduction at most in this kind of situation, but this is a matter of personal taste and the nature of the track. If you are after a harder, more obviously compressed effect you will need to use higher ratios such as 3:1 or maybe even 5:1, but with a much higher threshold."
Now I'm obviously no expert, but 8dB of gain reduction at 2:1 seems a lot for compression on the whole song, no? The guy wasn't even talking about one song, he was talking generally.
"The key to making overall compression work lies in setting the compressor sympathetically. Typically, a little gentle, subtle compression is all that is needed, with a very low ratio (perhaps 1.5:1 or 2:1) combined with a low threshold, so that the compression is working most of the time over most of the song's dynamic range. I would ideally be looking for between 4 and 8dB of gain reduction at most in this kind of situation, but this is a matter of personal taste and the nature of the track. If you are after a harder, more obviously compressed effect you will need to use higher ratios such as 3:1 or maybe even 5:1, but with a much higher threshold."
Now I'm obviously no expert, but 8dB of gain reduction at 2:1 seems a lot for compression on the whole song, no? The guy wasn't even talking about one song, he was talking generally.
mjbphotos
Moderator
My mastering guy told me he was glad to see the wave forms from my sound files didn't look like 'sausages', which is the typical wave form delivered to a mastering studio - so compressed there are few dynamics left.
Massive Master
www.massivemastering.com
Hell yes. 2:1 is far too hard (although 2:1 with 'no' to 'just a whisker' of gain reduction for the flavor of the compressor is perfectly reasonable), 8dB is off-the-charts too much.
IMO/E --- YMMV --- Yada, yada, etc., etc.
