Stereo Bus Compression

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chris-from-ky

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Hi. My question is probably really a matter of taste than proper mix/master. When I am mixing a hard rock song, I notice that when it sounds good to my ears, the stereo output meters are jumping a pretty good distance with the kick and snare. Note: the kick and snare have individual compression to limit their peaks, but in mixing they still jump. If I am getting a good mix in several different listenign environments, should I just leave the stereo buss compression out and let the mastering engineer apply compression that will level out the wave form?
 
Yes. If it sounds good, it IS good. The mastering engineer will know far better - if he's good, of course - how to enhance the final product.
 
The thing about 2 buss compression is that it can do more harm than good if you use an inappropriate unit, or misuse a good one. The idea with buss compression is to: 1) get the mix a little louder while maintaining the integrity of the mix; A) get the mix to "gel" a bit better without compromising the stereo field. [I labeled those "1" and "A" because they're of equal importance].

With that said, generally a little dab 'll do ya... but you want to use a seriously high quality unit [the least expensive unit I can think of that I have found acceptable is the Drawmer 1968... as always, YMMV]
 
chris-from-ky said:
Hi. My question is probably really a matter of taste than proper mix/master. When I am mixing a hard rock song, I notice that when it sounds good to my ears, the stereo output meters are jumping a pretty good distance with the kick and snare. Note: the kick and snare have individual compression to limit their peaks, but in mixing they still jump. If I am getting a good mix in several different listenign environments, should I just leave the stereo buss compression out and let the mastering engineer apply compression that will level out the wave form?
Click to expand...


Always follow your gut, because your gut always listens to your ears.

If it ain't broke,
don't put it the vice.
 
I don't use any bus compression on my mixes, however, I do have a compressor in one of my monitor chains so I can hear how it sounds with some compression without actually throwing the comp. into the mixdown signal path.
 
i do that too. i use to do it just to keep my monitors from getting creamed, but then i figured out a more useful purpose.
 
I don't use anuy compression to protect my monitors. How can tell what a mix is sounding like if you ahve a compressor in line that isn't working on the mix?

I say leave the mix the way it is and let the mastering engineer dial it down. I second Fletchers voicings here. Bus compression is a whole different beast than standard channel compression. Unless you have a Drawmer (like Fletcher mentioned), an API, an Alan Smart or something of that sort, I wouldn't mess with it. Otherwise your mix may take on a new "breath" of it's own (literally). If you do need to do it yourself for sheer volume sake, try multiband compression first to help avoid some of the breathing, pumping, and unnecessary compression.
 
because i was using the compressor as a brick wall limiter to keep my monitors from getting creamed.
 
crosstudio said:
because i was using the compressor as a brick wall limiter to keep my monitors from getting creamed.
Click to expand...

Exactly. I learned a tough lesson one night. I was working at the end of the tape on the adats and was going to go back and mix the first song on the tapes. I hit locate "0" to take me back to the top and took a bathroom break.

Ihad the kick drum soloed and I guess I forgot about the auto play feature. I was sitting on the crapper with "one a hangin'" when I heard the "boom boom boom" of a way, way too hot kick drum soloed in the monitors start up.

By the time I "composed myself" and got back to the control room, it was too late, the lf drivers in my monitors were toast.

Lesson learned the hard way :(
 
an alternative to putting master buss compression is to compress the kick and snare more.
 
I understand the reason behind putting the compressor on your monitors. To protect them. However, I feel I woe it to myslef and my clients to always do my best work for them. This means also using the best stuff I can in the best way I can. For me, thta means I could not patch my monitors through anything so that I can hear what I am really mixing. Unless maybe I had a really nice comp that I could afford to leave there that actually made my monitors sound better:D
 
Right on - EQ or compression on your monitors is taking a big step backward from listening to what's actually going on.

The monitoring chain is THE MOST IMPORTANT part of the whole enchilada - Do everything you can to keep it as accurate and pristine as possible.
 
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