I am confused about the use of compression when mastering songs. Maybe it is just the term that confuses me. But it seems that if I use compression, it will squeeze everything down instead of expanding the dynamic range. Can anyone shed some light on this? Also, how much compression is too much compression? Will I hear the threshold when I have gone too far?
Use of Compression to expand dynamic range
- Thread starter recohal
- Start date
R
RAMI
Guest
Yeah, that's what will happen. Where's the confusion?
You SHOULD hear when you've put too much compression, and that's also the answer to the first part of that question. "Too much" s determined by your ears. If it sounds good to you, and it's your song, then it is good. If it sounds like it's too compressed to you, then it is.
Why would I want to use compression then? Why not just leave the dynamic range as it is?
R
RAMI
Guest
That's a subject of much discussion and debate. There are many reasons to use a compressor and/or limiter. Getting more volume out of the final master is one. Liking the sound of a certain mix with a certain compressor is another. There are many reasons to use one, and I guess just as many reasons not to use one. If you want to retain ALL the dynamic range, then don't use one or use one sparingly.
Richard Monroe
Well-known member
In modern recording (in the old days, they didn't have compressors, and the world did not come to an end), compression is used for control of dynamics, not to expand dynamic range. It is also used to allow music to be recorded and mastered at a higher level without clipping. In the first case, say you have a singer or a drummer that occasionally hits one loud rim shot or one loud note that makes you want to reach and turn the volume down. By compressing that one source at mixdown, you can control those excursions. In the second case, it is a symptom of the volume wars, where the whole mix is squashed so perfectly reasonable dynamic excursions don't cause clipping, because the whole level is so close to clipping in the first place. It can also be used as an effect, especially on bass and percussion, so hard slaps and rim shots, etc., can be done for their tonal effect without exceeding the dynamic envelope. Good engineers use #1 only when they have to, and #3 when the song, the playing style, and the mix call for it. #2 is usually used by clueless nimrods who call themselves "producers", and are more interested in making money than art. Dynamics are your friend, not your enemy, and not surprisingly, compression needs to be used more often on bad musicians than good ones.
Thanks for your descriptions. I think I understand now.
Thanks for the mini-course. I was just looking at it from the wrong way.
grimtraveller
If only for a moment.....
Trust me, you're not alone. "Use of compression" is up there with "Predestination vs free will" and "Why does Britain have both a monarchy and a democratic parliamentary system ?".
Mo Facta
Farts of Nature
This is the fairest question I've heard from a newbie in recent history (like since the seventies!). In fact, it is an EXCELLENT question that many "professionals" should ask themselves more often.
Cheers
Why not just leave the dynamic range as it is?
Well because.... everybody want's it to sound like a record'.
And you know what that sound is.
Well because.... everybody want's it to sound like a record'.
And you know what that sound is.
Massive Master
www.massivemastering.com
I'd kill -- Well, maybe not "kill" -- But wow -- To keep the dynamics as intended? Holy crap -- It'd be like going back to the 90's when music had technology AND "life" to it.
Supercreep
Lizard People
Compression also has a sonic character to it, completely independent from its utility as a dynamics processor.
Some people use compression because they like how it sounds.
Some people use compression because they like how it sounds.
Mo Facta
Farts of Nature
Absolutely. That's the more interesting side to compressors, besides just "controlling dynamic range". They are not all created equal and some are suited better for some tasks than others. Some are "grabby" and some are "smooth" and some are inbetween. They all have their own "sound" and that's what I'm going for when I select one. Not just to smack down the peaks.
If that's all you're after, may as well use an L2.
Cheers
I wouldn't mind ponying up- paying for the option. If that's what it takes.
soundchaser59
Reluctant Commander
In the old days, the musicians cared a lot more about their skills, and they performed much more professionally in front of the mics. Part of the lure of compressors today is that they help lower caliber musicians capture recordings that don't spike and clip. Not every musician needs a compressor to get a great take. But if your definition of "singing" includes "screaming and yelling" then you will probably be glad to have a nice compressor.