| laby |
It's funny how many mess this up when it's so easy. First rule - consider how many more times it will be compressed by the mastering and/or broadcast chains. The common belief that it may be wiser to apply a lot of compression so they don't mess it up later is false. "More compressors" is just "more compressors" and the best approach is just a great mix that can handle a bit of squash and still sound great. Besides, trust the mastering engineer to have a great compressor, great monitors and daily experience of compressing just the right amount for the radio and CD pressing. If the mix is for TV or Radio, then there is a good chance you have a producer demanding "as hot as you can get it, and then a bit" and you know how much it gets limited by the station. Again, the best approach is the mix, but you rarely have time to "finesse". For broadcast and broadcast schedules, it is easier to mix into the compressor. In other words patch in the compressor before the mix starts and use a typical setting from your daily use. It helps to watch the GR meter, because it is all too easy to keep pushing up some fader and "for some reason" it never is quite loud enough. The L1+ is good for "loud" and fast, the Renaissance Compressor is typically more subtle and the C1+ may have more options than you really need. For big music mixes, we usually suggest the normal technique - that some gentle compression be patched and applied as a last step. To preserve the mix, use as slow attacks and releases as you can get away with. For more intensity use moderate to fast attacks and releases. For Netcast mixes you can take more liberties. This is the last stop before "data compression" which is an entirely different concept compared to "audio compression". For the net, feel free to run the mix through the Renaissance Compressor for gentle compression and dynamic control. Then use the L1 with appropriate IDR to optimize (not necessarily maximize) the final levels. Rather than run each mix with the same Renaissance Compressor & L1 settings, adjust each song, so that all songs end up at similar apparent levels (close your eyes) or at least "flow" well from one song to the next. And that was the last big hint - never forget to listen to & judge what you just did. No one cares what settings or theories you favor - they just want the mix to sound 'right" and appropriate to the emotional content of the music and the sound be in fashion or perhaps setting a new one.
Oh yeah, we started out by saying how mixes get messed up. Most people make a common error based on some rumor or some line in a magazine. They expect miracles from a compressor and when a little doesn't sound amazing then a lot must be better. Wrong. You were closer with "a little" but now it needs finesse. If the attack is too fast you lose the drums. It�s that simple. With the release set to look like a metronome, bouncing with every beat, it will probably sound pumpy and amateurish. Try slower attacks and moderate releases. With too deep of a ratio and/or threshold, you lose the dynamics and space. In other words the technique is to compress gently and musically. The closer you get to brick-wall limiting the more likely it will ruin your mix. Limiting is possible but must be used with care and as little as 2 or 3dB unless you are aiming for that squashed effect. When the schedule is tight and maximum loudness with intensity are important, it may be best to mix "into" the compressor. With a complex mix, it will generally be less difficult by compressing as a last step. For a killer professional mix, the most important thing is the basic mix. Choose your tools wisely and don't make mistakes. The compressor won't turn lame into lovely but a good compressor can make a good thing better. "Taste" is the key. |
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