Still Learning - Eschewing Compression: "If You Don't Love Me"

[K-dub]

I've been addressing my tendency to automatically reach for compression and over use it. I've been really pulling back in my more recent mixes -- going back in to older mixes and saying -- "What? That's awful."

Less compression just sounds more natural -- clearer/cleaner -- more professional.

Louder does not equal better, and I need to keep reminding myself of that.

... just a reminder from a chronic abuser who is relearning to return control of the volume knob to the listener ...

Any/all comments warmly welcomed and appreciated.

Best,

Kev-

 

[Manslick]

As you clearly know, the discussions concerning the merits of compression are infinite.

This sounds fine to me. The surge at 3:13 is a little surprising but no more than listening to classical music where the dynamics can be ridiculous. Try sleeping on a plane listening to classical thru headphones – wakeup – hello.

The placement of the high hat seems too far off center from the snare.

Other wise, another nice listen to this tune.

 

[guitar zero]

This sounds great. I don't hear any compression artifacts at all. Still, it's smooth enough. Nice job on the harmony vocals.

Compressors are evil. I've become a big user of volume automation instead. Compressor if needed to just pick up the small spikes left over.

 

[HeatSinks]

Is Auto Duck the same thing as volume automation? How does it differ from compression?

 

[guitar zero]

Is Auto Duck the same thing as volume automation? How does it differ from compression?

No it's not the same. Ducking is when audio in one track triggers a decrease in the volume in another track/tracks. Used a lot in radio, so when the talking starts the music gets quieter, etc. I'm just talking about automation of the volume on the track itself. As the track plays, the fader goes up and down automatically following the volume automation points you've set. No compression involved at all.

 

[K-dub]

What I noticed that I hadn't noticed previously was the "sounds like shouting when you're not" impression that compression can arrive you at. If over employed, it presses the sound up against the glass --- everything a little "too up front" ... and since the performances then stand like a blocking front wall -- depth of air -- that illusive subtle ear trigger that indicates "real sound" at brain level, is lost; unheard behind the front wall. The instrument I offended most on was the drums. I'd start w/ compressed volume there and then build the rest of the loud around it. What I've now gone to is getting them to pump in time, but still let them breath more in the open. That method requires a more delicate, discerning touch.

I still am a fan of compression, but my approach to it is becoming MUCH MUCH more judicious and light handed.

I do employ volume envelopes too, GZ ... but I'm WAY too lazy to ride the fader that close, and I just think that if done right, the machinery does it more quickly and seamlessly than I ever could. I ride the track and bring volume levels up and down to feature different things at different times in a mix, but almost never "tightly" ... unless there's no alternative.

MS - that swell is intended as a startling transition between the body of the song and end out --- it's a momentary "wake up". Thanks for the mention of it in context. Appreciated.

Kev-