Cymbal problem when mastering

  • Thread starter Thread starter Krustyhabib
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Krustyhabib

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I'm currently mastering some songs in Cubase SX3. The final stereo mix prior to mastering is fine. When I master it with some dynamic range compression and a little EQ I get a problem with isolated cymbal shots. On the last beat of a couple of bars a crash cymbal is hit followed by a one bar pause before the song takes off again. In the empty bar the compression ramps the cymbal back up so it sounds like two cymbal shots in a row. Anyone else had this? Anyone got a schmick trick for dealing with it?
 
Sounds like the compressor just releasing. Over squashing is evident there. Don't compress so damn much. :D
 
I'll often adjust the cymbal crashes in the editor (simply marking, cutting, & lowering the levels...a bit tricky with the tails), that way when I compress the OH tracks, theyh don't sound as rude.
Usually I wait until I'm mixing, that way I can hear how much the compressor is working on the cymbals...then I go back and edit the crashes without messing with the comp settings.

That said....I don't really ever squash the crap out of the kit OH tracks...rather just enough to "lift & glue" them into the mix.
 
Thanks guys - good help. I think I was too heavy handed on the compression, so I'll work through that one first. I'm finding the line between 'light' and 'heavy' compression' is a movable feast depending on the song. I need to re-attach my ears every time. The release seems to be where I am finding my fails, especially where the song has strong dynamics.
 
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Is it me or is compression used way too much and way too heavily these days?

I've found that as my mixes have improved I am using a lot LESS compression and far fewer instances. I never compress individual drums, or even the groups. Most of the time I just insert a compressor like an 1176LN over the master drums bus and that gives me all the push/pull I need. It's the character of the compressor I'm after, although the reduced dynamic range does make it easier to achieve a louder master.

Granted, we all have our methods but IMO, saturation effects and consistent playing are way more desirable to me for keeping my crest factor manageable for most modern music.

To me, when you reach for a compressor to "manage peaks" or the like it is counter-intuitive and merely problem fixing.

Cheers :)
 
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I don't know. I feel too much is also apt here. It seems like many people reach straight for a compressor when they aren't even sure if it's the right tool for the job. After all, that's all it is...a tool.

In many cases a compressor will serve to eliminate dynamics, punch and impact and that is exactly what is missing from most music produced in these modern times, especially in unsure hands.

Also, I think saying "compression is good" is a bit of a broad statement that I struggle to find meaning with because everything is completely subjective in audio. There's no reference. Good as opposed to what? No compression? I feel that statement kind of implies, "it's good to use compression on everything, as long as you know what you're doing", whereas, I would merely say, "compression can be good if you know what you're doing, and it can also be bad". You will never know until you hear the production and decide it's the best thing for the job. But even then you have to decide what your goals are there. Transient suppression? Transient enhancement? More sustain? Reduced dynamic range? Character driven? To supply an effect?

So yeah, I agree compression can be a wonderful thing if done right, but it's definitely over rated, particularly when you work with competent performers.

Cheers :)
 
If you're used to Greg's past posts, I think you'll find he wasn't using that statement as a broad sweep. I'd say that he said pretty much what you did. He's not one to 'historically clarify' every statement he makes !
 
grimtraveller said:
If you're used to Greg's past posts, I think you'll find he wasn't using that statement as a broad sweep. I'd say that he said pretty much what you did. He's not one to 'historically clarify' every statement he makes !
Click to expand...

Exactly. Grim gets it. I'm not typing out a phone book just to make sure every single person gets what I'm saying.
 
Here is a general rule of thumb: If the reduction meter on the compressor never gets anywhere near zero during the song, your threshold is set too low. There is a point where you turn down the threshold and you won't get any more compression, you will just get farther into the reduction. that's when things like you are describing happen.

It's Probably best to use a compressor to ride the dynamics and a limiter to smash it. Even then, the same thing applies.
 
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