Mixbuss compression lesson

[kirk1701]

Before I share this, I'd like you all to remember the aspects of mixing that remain opaque to you. We all arrive at understanding in different ways. I share stories like this so we all are reminded that there's always something new to learn.

I thought I knew what I liked with mixbuss compression. I've always strapped V-Comp on the mixbuss and mixed into it. This is a hefty compressor, so I'd set the threshold at the lowest point and still get 5db gain reduction according to the VU meter. Eight times out of ten, this seemed like the right choice. I give vintage style compressors a bit of play between 2 and 5db if I can't hear any audible weirdness. The ears are the final arbiter of taste.

I've had a couple mixes that needed to be punchier and I couldn't figure out why it wasn't. It would build up in the "mud-range" and roll off highs. I think I was watching Warren Huart compress a piano with R-Comp and he'd managed to get the needle to bounce at -3db GR. I liked how it made the piano mids ring like bells without adding mud.

I don't know why I thought to try it on the mixbuss, but I swapped out V-Comp for MJUC on the "punch mixbuss" preset. That's the Bill Putnam 176 emu. Suddenly, the mud dropped out and the mix woke up. (I still need to get it to sit just around -3db max, but that's par for the course.)

TL;DR:

This was a breakthrough for me regarding compression. It's such an important tool, but it must be applied in context or it's going to rub out all the fine detail you've worked so hard to obtain. This isn't really news, but it's surprising how often we forget to apply this principle. I'd venture to say, the only principle of processing anything is how it sounds in that particular mix.

We certainly build experience that aids us, but it's only helpful if it sounds the way we want. If not, toss it out. At least, that's my plan going forward.