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djclueveli
New member
is it better to mix through a stereo compressor on the master output?
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xstatic
New member
I would say it would only be better to mix through a compressor if the benefits outweigh the negatives. Are yo using it to purely control dynamics? Or are you using it because it adds a sound, or changes the sound in a way that is pleasing to the ears? Most comps that were meant to be used on a bus or stereo master out are designed a little differently than the typical comp you would insert on a channel.
SouthSIDE Glen
independentrecording.net
Better than what?djclueveli said:
G.
ecktronic
Mixing and Mastering.
It all depends on what kind of mix you are working on.
IMO I would never place a compressor on the stereo bus, Id leave that to the mastering engineer.
I place a brick wall limiter on my stereo bus and set it to around -10dB.
This is so I know what volume my drums will be at after mastering since limiting brings the volume of drums down.
Eck
IMO I would never place a compressor on the stereo bus, Id leave that to the mastering engineer.
I place a brick wall limiter on my stereo bus and set it to around -10dB.
This is so I know what volume my drums will be at after mastering since limiting brings the volume of drums down.
Eck
SonicAlbert
Super-Sonic "Herb" Albert
In many ways it is good to get away from the concept of "better". That's because there are so many variables involved that what is better in once instance may be worse in another.
The ultimate answer is "it depends".
The way to answer the question is to put a compressor on the mix buss and see if it improves the mix. There may be a formula for certain types of music, but even then I think you'd have to go by trial and error to see if it really helps or not.
The quality of compressor is also a very important factor. A squashing type compressor that you'd use on the drums, for example, would probably be very unsuited to mix buss compression.
The ultimate answer is "it depends".
The way to answer the question is to put a compressor on the mix buss and see if it improves the mix. There may be a formula for certain types of music, but even then I think you'd have to go by trial and error to see if it really helps or not.
The quality of compressor is also a very important factor. A squashing type compressor that you'd use on the drums, for example, would probably be very unsuited to mix buss compression.
Middleman
Professional Amateur
Depends on what you want. I've found there is only one eternal truth in audio; a Neumann U47 into a Neve 1081 preamp into an 1176 or an LA2A always sounds really good.
I do use buss compression for the warmth and also because it reduces a lot of plug ins I would use trying to get a commercial sound. The plugins degrade things overall so this keeps the inbox usage count low. If I can get things sounding good early with an external buss compressor, I end up spending more time on EQ, panning and effects. Having a decent stereo compressor on the main buss gets your mix to sound glued earlier in the process. My experience.
All that said I keep the activity very light on the external compressor. Just for color and a little action.
I do use buss compression for the warmth and also because it reduces a lot of plug ins I would use trying to get a commercial sound. The plugins degrade things overall so this keeps the inbox usage count low. If I can get things sounding good early with an external buss compressor, I end up spending more time on EQ, panning and effects. Having a decent stereo compressor on the main buss gets your mix to sound glued earlier in the process. My experience.
All that said I keep the activity very light on the external compressor. Just for color and a little action.
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Ironklad Audio
New member
jesus
i usually slap a comp or limiter on the master buss to use as reference, just to get a ballpark idea of what the mastered mix may sound like
RedStone
Active member
I sometimes put a compressor (reacomp + ms encoding) on the 2-bus
mostly to see what it will do to the kick - so it's a "special app" compressor I guess -
other than that, I try to steer clear
mostly to see what it will do to the kick - so it's a "special app" compressor I guess -
other than that, I try to steer clear
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guitarboi89
New member
i have a compressor set up in the output which i enable just to check if i will have any shocks when its mastered
TragikRemix
I am NOT a Gear Whore. ;)
Middleman said:
not always.. crappy singers?
or even worse- a rapper using it!
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Elton Bear
Unregistered Abuser
When my band record vocals, we've found nothing beats an SM58 for our singers voice, even a C414 or U87
Chris Shaeffer
Peavey ROCKS!!!!!!!!!!!!!
My sense of audio purity says NEVER put anything on the 2-bus for mixing.
In reality... unless your musicians share that sense of audio purity its usually a good idea to have some level of squash going when you're at least rough mixing. Easier than trying to educate them about the process of mixing or the history and current state of audio butchering called "the Volume Wars."
Them: "Dude, it doesn't sound like the latest hit album produced by Some-Guy-That-Gets-Paid-Way-More-Than-We'll-Ever-Pay-You... what's up?!"
Me: "Here..." (insert T-Racks on digital mix or RNLA on analog mix)... "Does that sound more like it?"
Them: "Dude! Yeah! That's what it sounded like when we were recording it! How'd you fuck it up so much that you had to plug in that thing-a-ma-jiggy to make it sound right again?"
(sigh)
Probably just the class of musicians I tend to work with since I work at a facility for teenagers and young adults. But that's the case more often then not for me. When I'm working on my own stuff or the more experienced bands I don't have to do that so I don't- except towards the end to check how the mix reacts to different mastering possibilities. Just another perspective on it when I need a shift of perspective- and it sometimes turns up things that could be made better.
Take care,
Chris
In reality... unless your musicians share that sense of audio purity its usually a good idea to have some level of squash going when you're at least rough mixing. Easier than trying to educate them about the process of mixing or the history and current state of audio butchering called "the Volume Wars."
Them: "Dude, it doesn't sound like the latest hit album produced by Some-Guy-That-Gets-Paid-Way-More-Than-We'll-Ever-Pay-You... what's up?!"
Me: "Here..." (insert T-Racks on digital mix or RNLA on analog mix)... "Does that sound more like it?"
Them: "Dude! Yeah! That's what it sounded like when we were recording it! How'd you fuck it up so much that you had to plug in that thing-a-ma-jiggy to make it sound right again?"
(sigh)Probably just the class of musicians I tend to work with since I work at a facility for teenagers and young adults. But that's the case more often then not for me. When I'm working on my own stuff or the more experienced bands I don't have to do that so I don't- except towards the end to check how the mix reacts to different mastering possibilities. Just another perspective on it when I need a shift of perspective- and it sometimes turns up things that could be made better.
Take care,
Chris
masteringhouse
www.masteringhouse.com
Anything can be overdone, but there's nothing wrong with using a comp on the stereo bus to add a touch of "glue". As mentioned above, make sure that's it's a high quality compressor and something that you want to commit to in the final product. You will likely want one with a link function so that the balance between the left and right channels stays the same and doesn't let the mix start swimming around between left and right.
Don't use it to fix track issues though (use a comp on the track), an overall volume controller to fix the mix, or specifically to raise the volume of the mix to CD levels before mastering.
Don't use it to fix track issues though (use a comp on the track), an overall volume controller to fix the mix, or specifically to raise the volume of the mix to CD levels before mastering.
TuoKaerf
New member
I use one on basically every mix, along with a stereo EQ. The specific units I use add more to the mix with the sound of box rather than the processing (Neve 33609 and Avalon AD2055). With both boxes, I'm barely tapping the meters. I'll add these in after the mix is basically done, when I am doing small tweeks.
Middleman
Professional Amateur
TragikRemix said:
Well, there are exceptions...but...
I wouldn't put a rapper in front of a U47 and I wouldn't put a crappy singer there either.
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xstatic
New member
I would venture a guess that most distributed releases do have at least a comp on the 2 buss, if not EQ's as well during the mixdown process. The trick is to start with a good quality unit that is designed for that type of application and then use it properly and modestly
Freudian Slip
New member
I always get a decent mix going and then put a multiband (c4) on the main followed buy a brick wall (l2) I leave the bick wall as loose as I can leave it. I just use it to prevent clipping until the mix is pretty much done. Then I pull down the L2 until it's as loud as it can be without messing up the mix too much. Then I go in and tweek the mix to compensate for all the compression.
I used a studio twice that never threw any compression on the main. Problem is when you took the stereo tracks to be mastered they did not hold up well at all. Too me it's pretty much a must. It brings out some ugly things sometimes and lets you fix them in the mix. I'd rather see what comes to the front and fix anything I need to on the individual tracks rather than take them to be mastered and have them eq'ing the whole mix because of one track.
So to me, short answer, yes
I used a studio twice that never threw any compression on the main. Problem is when you took the stereo tracks to be mastered they did not hold up well at all. Too me it's pretty much a must. It brings out some ugly things sometimes and lets you fix them in the mix. I'd rather see what comes to the front and fix anything I need to on the individual tracks rather than take them to be mastered and have them eq'ing the whole mix because of one track.
So to me, short answer, yes
bigwillz24
New member
When I mix at school I always put the compressor on. Of course at school I'm using an SSL 4000 when I'm there.
Oh and the U47 into a Neve into an 1176 sounds good on rappers too.
Oh and the U47 into a Neve into an 1176 sounds good on rappers too.
Middleman
Professional Amateur
bigwillz24 said:When I mix at school I always put the compressor on. Of course at school I'm using an SSL 4000 when I'm there.
Oh and the U47 into a Neve into an 1176 sounds good on rappers too.
No doubt but at $1500 for a tube replacement and about $1000 to have one cleaned, I would not want an inexperienced individual screaming in the mic. Not that I own one but if I did.
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SuicideNote
always improving
Charles Dye does it.