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11-18-2013, 02:19 PM
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#1
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Human being with feelings
Join Date: Mar 2013
Location: Manchester uk
Posts: 151
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Compression
Im finding the whole compression thing a bit confusing.
Everybody i speak to says its use on vocals. And on the master track.
How do you know when you need to use it. And how do you actually use it ?
Are there any presets available to use a starting point ?
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If it aint broke, Dont fix it !!
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11-18-2013, 03:16 PM
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#2
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Human being with feelings
Join Date: Dec 2010
Location: San Rafael
Posts: 11,594
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As with all tools, and I mean this helpfully, they should not be used unless you know both the reason for using it, and have a good idea that the results will be better than what you are doing now.
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My religion is all or none.
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11-18-2013, 03:21 PM
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#3
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Human being with feelings
Join Date: Apr 2010
Location: Seattle
Posts: 5,635
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Quote:
Originally Posted by msore
As with all tools, and I mean this helpfully, they should not be used unless you know both the reason for using it, and have a good idea that the results will be better than what you are doing now.
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This is entirely correct. ;-)
Compression isn't a hard thing to understand, but it's use is akin to black magic and voodoo being cooked in a kettle surrounded by witches. No one agrees on what is right.
Sound on Sound has some excellent articles on that topic ( http://www.soundonsound.com/sos/jun9...es/mixcomp.htm) but the best teacher is going to be experience.
So go learn what compression is. Then start experimenting on your own tracks to understand what the impact is on your ear.
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11-18-2013, 06:05 PM
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#4
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Human being with feelings
Join Date: Jul 2010
Location: Silicon Valley, CA
Posts: 2,779
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And if you don't feel you need compression, don't use it. Or, use it only on your stereo mix during "mastering" to bring-up the level a bit (or as much as you want).
I like to start with the philosophy that a good recording doesn't need any processing. That's not really practical or reasonable with modern studio recordings. Just about every commercial recording has some compression on the individual tracks as well as on the stereo mix. Pop and Rap recordings have a TON of compression to make them LOUD! But, it's better to start with no compression than to start with "standard presets".
Some classical recordings have been made in concert halls with no artificial procesing, but they are the rare exception.
Same thing with EQ... Equalization can be used as an enhancement or effect, but it's mostly used to correct something. (The exception might be high-passing everything except the bass kick drum.)
Last edited by DVDdoug; 11-18-2013 at 06:11 PM.
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11-18-2013, 06:13 PM
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#5
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Human being with feelings
Join Date: Mar 2007
Posts: 21,551
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Quote:
Originally Posted by msore
As with all tools, and I mean this helpfully, they should not be used unless you know both the reason for using it, and have a good idea that the results will be better than what you are doing now.
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Great advice. Compression (aside from the genre references above) is too often used a a crutch, a shortcut. Sometimes - for one example - all a vocal needs is automation, but it takes a good bit longer... of course, genre dependent... and depending on if you got a little on the way in with outboard.
As to electronic instruments, most of that can be sorted out in the midi data but again, that's more work, it's easier to just smash the audio.
The thing you really want to watch are the transients. Squashing those too much is bad... imo.
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11-18-2013, 07:25 PM
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#6
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Human being with feelings
Join Date: Nov 2008
Location: Somewhere Between 120 and 150 BPM
Posts: 7,968
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Well there's plenty of good reasons for using it too.
Personally I use it for Sidechaining, so if you're interested in Compression make sure to read about Sidechaining.
Sidechained FX are very useful for synth orientated music, even for live performance.
In my case for live work I use DSP, Native and Analog hardware synths.
I must run all of my non hardware synths into a mutliband/multichannel Compressor so the Analog hardware can blend with the software and DSP hardware synths. Mostly from jumping levels between patches, but without the compression sidechain trick the Analog synths always seem to find their way to the top of the mix. Similar to Violin Sections in Orchestral Music, it's just the way it is.
SOS has great articles too on all dynamic effects processing, really a great mag. Have agreed most of the time with most of the reviewers since 1995.
My favorite guy went to work for Hans Zimmer at Media Ventures, so they have had several top shelf cats there over the years.
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11-18-2013, 11:28 PM
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#7
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Human being with feelings
Join Date: Jul 2009
Posts: 1,231
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The problem with compression is, as soon as you think you've FINALLY cracked the code - something comes up where it just doesn't seem to work AT ALL. I've found that over the years I still find myself struggling with what settings and what hardware/software compressor to use for what purpose.
I often baffle myself by using something I really didn't expect working, and then finding out it works really well. Or the opposite. It's actually really weird. With EQ I generally have it straight in the ballpark of what I want, but compression is a different animal.
My best advice is to simply tweak and listen, tweak and listen. Repeat.
And if everything else fails, just slap a L2 on there :-)
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11-19-2013, 12:12 AM
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#8
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Human being with feelings
Join Date: May 2009
Location: Polandia
Posts: 3,578
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Worth reminding: best compression analogy I've seen here, by lowerbout:
Quote:
Its like Whack-a-Mole! The moles are the dynamic peaks and the hammer is the compressor. The table top is the threshold. You can hit the moles fast and hard, slow and easy, or anywhere in between, which is controlled by ratio, attack, and release. Make-up gain is like raising the table when all the moles are down.
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Old Kjaerhus classic compressor has presets for vocals, bass, guitar etc. Maybe it's worth getting an checking how they look.
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11-28-2013, 06:08 AM
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#9
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Human being with feelings
Join Date: May 2012
Location: London
Posts: 98
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agree with all that's said above plus a couple of other points:
1) I tend to only use compression on vocals and bass; the vocals to compensate maybe for vocal technique where a singer gets too close to the mic or belts out certain lines, both of which cause a massive fluctuation in the volume (and quality) of sound; on the bass, best example for me is when the player hits the bottom E string where you will notice a definite increase in volume / power from when he hits the other strings (typically, but not always of course). All you're really trying to do is even out a performance. In its most simple terms.
2) There are presets on ReaComp. It's worth opening that up on a track, applying the preset and then maybe just playing around with the various components to see (hear) how they affect the sound. A tip I heard once was to adjust each of the variables to their extreme (slowly) just to establish and understand what they do and how they affect the sound. So adjust the threshold right to the top and then right to the bottom and see how it changes what you're hearing. Same with the ratio, knee etc etc. That's all about training your ears too...and that's how you should judge compression, not by any "rules". Although there are plenty of guides that offer suggestions for the most appropriate settings....
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12-04-2013, 02:15 PM
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#10
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Human being with feelings
Join Date: Jul 2007
Posts: 1,890
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when to use compression:
1) when a few random parts of a track are much louder than others, and this was not the intention, you can automatically lower those parts and make that track more even
2) when the track is loud and quiet at the same time, and you want to decrease the difference between those parts, you can smash the loud stuff and make it more even.
you can also invent or borrow ideas such as #3...
3) you can make any track quieter when you want it, and make that happen using the audio volume levels from another track. this is called 'sidechaining.'
4) bored with your mix? be creative... like a paintbrush, or like sex, its how you use it...
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