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Question on shaping timbre with compression & limiters
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| jsrobinson |
Is it common to use multiband compression to shape a bassline, or other timbre? I ask because I saw it used in a video awhile back. I don't remember the specifics, but it was used to shape the timbre of the bass making it really fat and punchy. The original sound being pretty quiet. I've done some searching and haven't really found much on this.
I'm still learning the balance between "punchy" and "well it's just louder, that's not very helpful", (even when just speaking about standard full band compression) - but is this a common or sound technique with multiband compression?
I'll also ask another question along the same vein. Pushing things with limiters/compressors, is it wise? I've heard discussion going back and forth on this. This goes along the same line of trying to learn how to balance making something more punchy/have more presence. I want to avoid situations where I'm simply just making something louder @ worse sound quality though. I'm not sure if this is a valid area to "just use my ears" at
Thanks for any input to help edu-mucate me. |
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| Looney4Clooney |
| try to distinguish things that are say transient related ie punchyness and what ever that means and say the eq profile of a source. MB is used on a bass more for controlling say the bass so that it does not deviate in overall energy when you change notes. |
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| EddieZilker |
I've used multiband compression on specific element tracks and I used to use it to master my own tracks. I don't do nor do I even recommend the latter, anymore. For quick and dirty sound editing, though, I can definitely see the utility.
I stick a limiter on my master channel to deal with occasional spikes that clip the meter. If I'm bouncing out a demo, I'll put a mix through regular (not multiband) compression. You're liable to get some varied answers about this but I've been hearing a lot of good songs unnecessarily ruined because producers felt compelled to push the envelope in terms of loudness. |
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| chris marsh |
you can always adjust the make up gain so that the level is the same then A/B with the original - that way you wont be fooled into thinking its better just because its louder
also i guess a lot depends on style, like in drum and bass i know that limiters do get somewhat abused in pursuit of a very loud, in your face sound! |
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| Evolve140 |
i've heard from mentors that MB isn't even worth using unless you know exactly what you're doing. you can go completely without using it and and not miss a thing. a mastering engineer might use it, however, and possibly with great effect. if you can't get the result you're looking for with a regular compressor, you might be doing something wrong.
sure, it might make it louder, but it's just making the signal as loud as the loudest part based on what parameters you have set, and as long as you leave the transient intact, you should be able to maintain some nice punch. for loudness, just raise it on your mixer. i wouldn't suggest using a compressor just to make it "loud". |
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| jsrobinson |
| Thank you guys, excellent food for thought. |
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| Looney4Clooney |
| i think in dance music, a MB compressor on the bass is just standard. |
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| dj_alfi |
| quote: | Originally posted by chris marsh
you should always adjust the make up gain so that the level is the same then A/B with the original - that way you wont be fooled into thinking its better just because its louder
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ftfy |
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| chris marsh |
| quote: | Originally posted by dj_alfi
ftfy |
you misquoted me there
i said you COULD always, not you SHOULD always
Ill give you ten euros if you can work this one out
isympayaouc
:) |
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