Multiband Compression

  • Thread starter Thread starter AMcB
  • Start date Start date
i heard the sib-sssss also, and on the cymbalsssssshhhhsshhhh...
I thought it was the compressor pumping sound I was hearing.

potentials there... imo, from a novice listener! but there's something going on with the sshhhhhssshh - ing on my playback system too.
 
kubeek said:
the kick needs to have more click and less bass to stand out more, but the whole mix seems to lack higher mids. Also you could do something with the sibilance of the vox.

I think the volume is just normal.
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i cant hear the track at this PC, but if it's a vocal sibilance issue, he can try to check the vocals at a 4k-6k range and start cutting the gains there to reduce the sibilance or increase to add presence....... then again if it's lacking higher-mids throughout the track it seems like he may have focused on primarily increasing the volume of the bass aka the low-end of things while taking less focus off the highs and mids, which would've brought more clarity and overall loudness/brightness to the mix before the post-recording compression started......

i don't know, i don't do instruments and my primary genre is hip-hop, just thought i'd add my input to possibly help the original poster out a bit.....

so with using the C4, you should look thru the manual because faulty usage of that one tool alone could make or break your whole mix, its very powerful..... so in theory of course you can use the C4 to louden things up, it's a compressor and since your used to using a C1, the C4 is like having 4 different C1's, cept each band(or C1 to simplify) is assigned to specific frequencies like Danny Guitar stated...

good luck and may the force be with you.......
 
COOLCAT said:
i heard the sib-sssss also, and on the cymbalsssssshhhhsshhhh...
I thought it was the compressor pumping sound I was hearing.

potentials there... imo, from a novice listener! but there's something going on with the sshhhhhssshh - ing on my playback system too.
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that sound your hearing is the sibilance of the high-frequency i'll assume, he might wanna check things out around 7-12k and adjust/cut those frequencies a bit to adjust the sibilance of the cymbals, thats pending the tracking was consistent....... especially if he plans on using the C4 as a volume booster or else the track will sound like bullets whizzing past the mic at certain parts....

once again, i'm just a novice and i do hip-hop, so i really shouldn't be speaking upon the ways of rock/metal music, but just adding some insight and potential resolution to the situation........
 
AMcB said:
Well then, what are you talking about???
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It's not something that can be explained in a thread. Not to mention, I am not there myself yet. You certainly aren't going to be able to compete with commercial cd's. As you get better, you will learn all the subltleties that allow you to push things further and further. Until then, slap a L2 or UAD Precision limiter on the output and crank it as high as it will go.........:D
 
Well since I'm only getting $50 a song I guess they'll live.
 
wait until you do one pro bono and they come in and don't know the song and want to learn it on your time... :eek:
 
oh, i just recorded a band and they wrote half the song while i sat there, and messed around between every take (and there were alot) so i was pretty pissed about that. and then they give me an extra 5 like that will buy me a new car or something...
 
Why would you ever use a C4 if you've got the source material? I understand using a C4 if you've been given a mix to master, but you've got the source material. If anything needs compression you should compress that individual track (or group of tracks.. which is what i prefer to do with back vocals) instead of reaching for a C4.
 
crosstudio said:
Why would you ever use a C4 if you've got the source material? I understand using a C4 if you've been given a mix to master, but you've got the source material. If anything needs compression you should compress that individual track (or group of tracks.. which is what i prefer to do with back vocals) instead of reaching for a C4.
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You've never used a multiband compressor on a single track? :confused:
 
robin watson said:
Oh?



What is it then?
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Controlling dynamics at the tracking stage maybe?

Tracking loud does nothing for dynamic control, it's just louder. Clarity and sound quality (not just from what I read but from my personal experience) comes from tracking at proper levels around -18 to -12db. Clarity and sound quality will be what helps songs still sound good when they're pushed to degrading levels.

We all know songs get crappier as you push their volume past their limits. Better recorded songs can be pushed further.
 
crosstudio said:
If anything needs compression you should compress that individual track (or group of tracks.. which is what i prefer to do with back vocals) instead of reaching for a C4.
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C4 is a compressor. one use is taming the bottom on guitar tracks.

AMcB, have you looked at Soniformer by Voxengo?
 
Sonixx said:
C4 is a compressor. one use is taming the bottom on guitar tracks.

AMcB, have you looked at Soniformer by Voxengo?
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true, but it can be used on vocals as well, i wouldn't recommend using a C4 just because a person knows it's a compressor though, multiband compression is not a cakewalk, and it's very accurate, the slightest inconsistency can ruin a track in less than 5 seconds...... i play with it from time to time just to experiment at on individual tracks as well as mixdowns, i'm not really good with it, but i can make it work 4 me if needed......

as far as the thread-starters need, it sounds like an investment in Waves Vocal Bundle or even the Waves RVox might be more beneficial to the mix than using the C4, it's less harsh and quite simplistic to use!
 
robin watson said:
Oh?

(recent quotes about starting during the tracking stage)

What is it then?
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Part of it is keeping reasonable amounts of headroom at every single step. There's a tendency by ultra-rooks to "track as hot as you can without clipping" as they think that will make for a louder mix - when the exact opposite is usually true.

And anyone without a firm understanding of that should certainly avoid dynamics control on the way in (short of talent-controlled dynamics) for the same reason.

Just record the tracks at a "normal" level (I saw a -18dBFS suggestion in there, which is where a lot of converters are calibrated to anyway, so that's wonderful) and worry about dynamics later. If in doubt, there's absolutely nothing wrong with tracking at lower levels either. Peaks at -20dBFS isn't an issue. Peaks at -30dBFS isn't an issue.

Peaks up around -3 or -2dBFS on the other hand... That's usually an issue.

And sure -- You can get SO low that you're contending with self-noise of the input chain. So there needs to be some sort of compromise there. But that's a rare occasion - And the lesser of two evils. I've never heard a preamp complain about not being pushed too hard.
 
Try to educate your client about the well documented harm that the volume wars have had on the quality of recordings over the last several years. Ask them why they want to compromise their sound for a few more decibels. Tell them about listening fatigue, and that having their songs jump out louder does no good if people turn it off in a couple of minutes. Educate yourself about the subject so that you can present the facts clearly, without sounding like you're just making excuses for your lack of engineering skills. There are a lot of top industry people who are dead set against what they want you to do.
 
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