I feel compressors are badly misunderstood by most people

Sure, there are times when you can use them as a "creative tool" to shape the sound dramatically, but their main purpose is really meant to be very subtle.

In terms of a tool box, I kind of think of it as sand paper; something to just take the edge sharp edges or peaks off and make things of a different grain flow from one part to another smoothly or to make transitions between different parts smoother.

As a generalization, you don't use sandpaper to change the basic overall form of an object, and in the same way, you don't use a compressor to change the total form of sounds.

In that respect, they are badly overused or misused.

well maybe i should say that i rarely use compressors, i use limiters which by the way is a form of compressor and no i don't slap one on the master like most people do.

quote:

Originally posted by DJ RANN I feel compressors are badly misunderstood by most people Sure, there are times when you can use them as a "creative tool" to shape the sound dramatically, but their main purpose is really meant to be very subtle. In terms of a tool box, I kind of think of it as sand paper; something to just take the edge sharp edges or peaks off and make things of a different grain flow from one part to another smoothly or to make transitions between different parts smoother. As a generalization, you don't use sandpaper to change the basic overall form of an object, and in the same way, you don't use a compressor to change the total form of sounds. In that respect, they are badly overused or misused.

Totally correct. Obviously the topic has been rehashed on this forum a billion times, but I think such an overly misused and abused effect should be a continuous discussion. I know a lot of people like my mixdowns and I've been getting a lot of compliments lately. Having said that, I can promise you that compression is something that it took the entire 10 years of "producing" I have under my belt to be able to use correctly and comfortably. I use it on all synths and most percussion, but very subtly.

You should be able to solo your channel for the synth, turn it up as much as you need to be able to hear it clearly, and unless it has peaks you can't control with the synth programming itself, major compression is never really needed. I use compression for volume control through peak reduction with automatic makeup gain, but like you said, very subtly. By the time I bus a lot of this stuff, all of the subtleties mesh together and my well-mixed product starts to appear.

quote:

Originally posted by Evolve140 Totally correct. Obviously the topic has been rehashed on this forum a billion times, but I think such an overly misused and abused effect should be a continuous discussion. I know a lot of people like my mixdowns and I've been getting a lot of compliments lately. Having said that, I can promise you that compression is something that it took the entire 10 years of "producing" I have under my belt to be able to use correctly and comfortably. I use it on all synths and most percussion, but very subtly. You should be able to solo your channel for the synth, turn it up as much as you need to be able to hear it clearly, and unless it has peaks you can't control with the synth programming itself, major compression is never really needed. I use compression for volume control through peak reduction with automatic makeup gain, but like you said, very subtly. By the time I bus a lot of this stuff, all of the subtleties mesh together and my well-mixed product starts to appear.

Completely agree with all of this, especially the sentiment that it needs to a continuous discussion. The loudness war has obfuscated that discussion and I hope that peole who actually understand what compression is keep correcting those that mis-use it.

You can of course use it to subtly change the dynamics of a sound, but we have to remember that all it's doing is reducing the difference between the quiet and loud parts of a sound (like my sandpaper reference above).

I have to admit, that even though I knew what it did and had used it many hundreds of times prior, I didn't truly understand how to use compression before I worked in a scoring studio; Using it on real drum mics to just tone down some of the peaks of the toms and snare, in relation to the rest of the kit; using it on short strings to make them smoother against the long strings; bus compressing groups of low mid and upper LF to place them in the correct volume range as a frequency spread for surround....these things really make you understand compression's real use.

If anything it's about layering subtleties - you really shouldn't "hear" compression in a fully mixed track, unless it's for those moments (which are the exception that proves the rule) when you're using it as an obvious effect.

Im only compressing on the mix buss these days, ive tried without it but cant get the mix to sit right...its just easier to make everything sit right in the mix, particularly kick and bass

I used to compress stuff to stop peaks jumping around but i realised i actually like some little peaks and jumps here and there, makes the tracks sound more alive
However on sub and and heavy basses i do use limiters, you gotta keep those bad boys under control!

I would imagine Skrillex and the likes are using lots of compression everywhere, any of that stuff that gets onto the radio sounds super loud

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I disagree,

Enveloppe tools and automation work great for general levels, a limiter to catch any small peaks but compression especially in EDM or any modern music is something I find is sound carving tool. The last thing i want is a transparent compressor as that can be done with other tools. I find this particularly effective for single tracks rather than busses which you can't be so rough with.

I find people don't know how to use them , and others are just scared or have been brainwashed by the whole shunning of them due to the loudness wars.

You can make a very dynamic track and still abuse the fuck out of a compressor. It is just knowing how and when.

EDM artists that claim not to use compressors either make very sparse arrangements or don't understand their genre and how compressor is necessary, And multi band compression is also great used in ways you don't typically use it. I find using 2 Mb compressors in series can give you a colour you would think might be achieved by using a saturation plugin but i find this way cleaner.

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Like looney said.

I always compress the shit out of my top basslines usually with some stereo delay, sounds great in uplifting trance. I also always compress my plucks and delays.

For example heres a clip from my upcoming track where i used that effect: http://www.youtube.com/watch?v=x0Eb4NLZfgA

Rollin Bass-> stereo delay -> stereo delay -> reverb -> glue -> saturator -> sidechain -> eq

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Last edited by shpanda on Jan-24-2013 at 17:08