jkuehlin
New member
I have the opposite problem and don't use any compression (I'll automate and manually de-ess, etc), so the mix never glues entirely. I'm trying to fix it and using just enough to tame spikes and get the glue, but I just don't like compression. The sound of old jazz records where everything is so open is just great. Does anyone write articles about under-compressing your tracks??? I need one of those.
Old Jazz records often had compression going on in the signal chain even if it was a stereo pair of analog limiters on the 2 bus. Also, keep in mind the tape reels were imparting a quasi-compression effect as well, though the line between tape saturation and compression starts to get blurred. Basically because we're manipulating and shaving transients but using an entirely different device to do it.
When I want a mix to gel, but not to superglue it together, what helped me a lot was learning what compressors do what. A basic understanding of the five major families of compressors circuits can help you get a better idea of what compressors NOT to use in certain situations. And if you're like me, and you like to compartmentalize things conceptually, it'll help you mentally organize the characteristics of the sounds that are unique to each compressor. That way you go into your mix with a better starting point. Like if you want a super relaxed and transparent compressor, the key is getting the right compressor in the chain, and THEN really learning how to control how hard it digs.
There are a lot of things you use a compressor for, but in general, its to draw out detail and to add tightness, punch, and clarity. They are also a great tool for achieving control. I can't tell why you say you don't like it, but what I would look for is other alternatives to using compressors, or what you can replace them with in a mix. However, as much as I hate to say it, no competent engineer is ever going to get away from compression or move beyond it until they truly understand it. If you want to get really really good at audio, compression is something you simply can not avoid learning how to work with. This is NOT like a chef that refuses to cook with cilantro. This is about the equivalent a chef that refuses to cook without heat.
There's nothing inherently wrong with saying 'I don't like compression'. Where you will run into trouble is that everyone else expects to hear it. Even if you're simply doing music for fun, we eventually share music with other people. If you build houses and you say 'I don't like using wood', then my first question would be 'how much have you really worked with it'?. What I'm trying to say is that in order to really grasp how to build a house out of something not wood, it seems that you'd have to have worked with wood enough to clearly articulate why and how an alternative building material is better. The person you are building the house FOR doesn't have to know this, but you as the builder should. Because it has to do with truly understanding the strengths and weaknesses of the technique or material.