Compression question

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GalacticCelt

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In truth, I have been a person who has generally avoided compression, for the most part....

However, I guess I need to learn more about it, before swearing it off....I guess i just prefer more dynamics, but understand compression can 'blend' a mix...

I know overall, the idea is to 'earball' what sounds good, and I'll continue to do that...I sometimes use compression now on individual instruments, but generally resort to taking it back off and adjusting volumes....what's a good starting point to compressing a mix?
 
what do you mean ?


I guess it depends from what you are doing, there isn't any general advice for it.

or is there ?
 
GC,

> what's a good starting point to compressing a mix? <

Here's a brief description of the basics:

A compressor or limiter is an automatic volume control that reduces the volume when the input gets too loud. Originally they were used to prevent AM radio transmitters from distorting if the announcer got too close to the mike. Then some creative folks discovered that a compressor can sound cool as an effect on voices and musical instruments.

The primary controls on a compressor are:

Threshold - also called ceiling - This sets the point at which the automatic volume reduction kicks in. Below that volume the compressor does nothing. When the input gets above that level, the compressor reduces the volume automatically to keep the signal from getting much louder.

Attack time - how quickly the volume is reduced when the input exceeds the threshold. If it's too slow, then a short burst of loud music can get through and possibly cause distortion. So when using a compressor as a tool to prevent overload you generally want a very fast attack time. But when used on an electric bass to get a little more punch, 20-50 milliseconds is often good because that lets a little burst of the attack get through before the volume is reduced. So each note has a little extra "definition" but without the full length of the note being too loud.

Release time - how quickly the volume comes back up after being reduced. If it's too fast, you'll hear the volume as it goes up and down. That sound is called "pumping" or "breathing." Sometimes this sound is desirable, but often it is not. It depends on whether you're using the compressor as a tool to prevent overloading, or as an effect to create a cool sound or add more sustain to an instrument. If you don't want to hear the compressor work, set the release time fairly long (one second or more).

Compression ratio - 1:1 does nothing. 2:1 means if the input rises to 2 dB. above the threshold, the compressor will reduce the level by 1 dB. so now it's 1 dB. above. 10:1 means you have to get 10 dB. above the threshold for the output to go up by 1 dB.

--Ethan
 
yeah......looking back, that was pretty vague!!!!! lol

Thanks for the info Ethan



I guess just overall, I've tried compressing the final mix on some things and just overall haven't been happy with the results....just wondered if there was a 'rule of thumb' on compressing a mix as far as ratio and such to start with. I know many newer CD's are compressed (too much, as far as I can tell), but I'd just like to have the technique available and be able to tell the difference between compressed and left alone...

anyone out there prefer it to not be compressed?
 
the Alesis 3630?


lol.....just kidding


I have several various plug in compressors at this time (Ultrafunk and Nuendo are the primary ones I've been using)....

I'm still a newbie (see by my name!), and haven't actually been educated in the outboard rack gear much yet.

I'm up for suggestions though!!!!!!!!
 
GC,

> just wondered if there was a 'rule of thumb' on compressing a mix as far as ratio and such to start with. <

Frankly, I have been compressing less and less over the past year or so. I haven't compressed a vocal in a long time, preferring instead to raise or lower individual words or syllables etc. with volume envelopes in Sonar.

For an overall mix you can start with the ratio about 3:1 or higher and adjust the threshold for about 3-5 dB. of gain reduction. Lower ratios don't do enough to be audible. Set the attack as fast as posisble, and adjust to release time to get more or less of a "compressed" effect. The amount of gain reduction also affects how compressed it sounds.

As with vocal compression, I hardly compress entire mixes anymore either. Maybe just a tad on pop tunes to give a little punch.

--Ethan
 
Just some pointers-

For 'punchy' and 'in your face' use a big ratio and a fast decay.

To keep from killing the high end in your sounds use a slower attack to let the transients sneak through.

Some of the software compressors are pretty transparent so don't be afraid to squash the hell out of something and see if it works better.
 
thanks to both of ya....

do you think the plug in compressors do a good enough job, or should I look into an outboard unit?'


I mean, I know there's always better stuff out there, if you got the money, but I don't!!!!! lol
 
GalacticCelt said:
thanks to both of ya....

do you think the plug in compressors do a good enough job, or should I look into an outboard unit?'


I mean, I know there's always better stuff out there, if you got the money, but I don't!!!!! lol
Click to expand...

Just like with anything, some are good and some are bad. This article is a little dated, but it's still pretty good:

http://www.prorec.com/prorec/articles.nsf/files/9FED7E1E97DC4C9A862566E70067B116

The Waves RCL is very good. If you want a good outboard unit, then I'm sure you've heard people talking about the RNC from FMR Audio ($175), the Joemeek, and the Behringer Composer Pro ($100).
 
Bottom line.....

Is that for every engineer that you will ask you will get an answer that 99 out of 100 are compressing and some are compressing hard and aggresivly.

I have at times over 5 compressors working away and I dont have a sqashed sound or aggresive one.

I tend to read over the net many people who are against compression ( to much compression these days !!!) and there are those against Eq ( We hold the purity of sound at our heart ).

But do you hear engineers that actully do commercial CD's telling you that?. Were are you guys finding bass players and drummers alike Jaco and Peter Erskine were compression isnt needed? (and they were compressed to....)

There is a book that Blue bear throws around a lot. I dont own it so I hope he jumps in to correct me but its by somebody called Bobby Owinsky (something like that) I cant remember the name of the book as well but in the local music shop I opened it up and took a quick glance at the interveiws and thought I wasnt seeing right....I use compression on every album I do, but these guys (major enginners of today...) are splashing it all over and in Ratios I'm afraid to touch and in combinations that could fuel a rocket. Guess what..... Their mix's sound good ! correct ! and slamming.

All this purity talk about no use of Eq but only use a mic to get your sound.....
In theory that is correct IF .... you are a leading top ten enginner in the world with a wonderfull pre with an amazing sounding room with a musician who is tops and who owns a class A instument and the proper mic and .. and ... and...

People with rooms that sound like a metal tank and with a pre
many wouldnt touch with a ten feet pole and a $250 sound card with the whole thing set in a noisy computer are worried about yes Eq or no Eq as Eq does havoc to the sound....

Many of the mix's of a begginer suffer from the sound of improper use of compression and EQ or none of it - period. So Dont follow the trail of people who talk highly about the "purity" B.S.
They are tools and good ones and after you managed to control them, then we can start a new disccusion over the use of compression-Eq.

Also remember that a single compressor isnt right for the job on every instrument. You have DBX Yankers and softer compressors and some that color and some that are distort. Some that are great for a full mix while suck on bass.....
Do guitar players always use the same guitar on every song in the same position same pick ups position ?!?!!?

If I was Blue bear I would have to say give me a break... sheesh ...yikes.... :rolleyes: :rolleyes: :rolleyes:..:o :o :o
 
GC,

> do you think the plug in compressors do a good enough job, or should I look into an outboard unit? <

I got rid of all my outboard gear a while ago and I've never looked back. There's no reason a plug-in compressor can't be as wonderful as any other compressor. Sometimes people like to buy old (vintage=expensive) outboard gear to get a particular sound. But I love my UltraFunk plug-ins and they do exactly what I want and sound fabulous.

--Ethan
 
I'd like to recomend the use of various comps on the individual tracks to get most of the way there, and use compression on the mix as a last resort, or finishing touch.
Wayne
 
thanks for all the ideas and helpful advice, gang! I'm working with a fairly heavy band this weekend, and will be trying out some of the information you've given!
 
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