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master comp

#26
WiLSHY Wrote:I know fuck all about compression and freely admit so. I use it and use my ears to get what I think sounds right. There's everything wrong in that, but hey Grin

Nothing wrong with that at all. Cool
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#27
scope Wrote:just to add - mixing through a compressor on the master buss is NOT the same as applying a compressor in the mastering stage.

the important thing is to mix through it, not to slap it on after the fact.

Script Script Script
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#28
markgabba Wrote:I think Macc explained this to me once.

You can set it up with a sine wave set to -2 or -4 (if you got a pultec in your master out) and set the comp up with that.

I might be wrong though Smile

Macc Wrote:That's ONE way of doing it, so you have some idea where you're aiming in terms of peak levels, and what gain reduction that'll give you.

Smile

What about attack and release times tho ? Can you hear what a compressors doing to a sine wave? Or is it 'oops, its distorting, back a bit, and we're off !"?
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#29
Oh i guess an un mastered earlier tune might do the trick, get the ball rolling at least

Pultec in the master crew sau beux ! Teef
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#30
paradigm x Wrote:what about attack and release times tho ? can you hear what a compressors doing to a sine wave? or is it 'oops, its distorting, back a bit, and we're off !"?

in my limited experience, i find myself dealing with the latter mostly....

although sometimes i like the distortion that starts happening....

for me its nice to know the technical ins and outs of stuff so i understand why i might use compression, and what it does, but at the end of the day it's whether me tunes sound like i want them too....

thanks to the excellent infos on here it's getting more and more that i am making my tunes sound like i want them to!

hurray for sc! Falcon
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#31
Paradigm X Wrote:What about attack and release times tho ? Can you hear what a compressors doing to a sine wave? Or is it 'oops, its distorting, back a bit, and we're off !"?

That's why it isn't a complete solution. But by setting A and R for maxmimum GR, you know you'll never go over that. Once you open up the attack you'll probably never get near it, but it's good to know for sure that you've set a threshold and ratio that is vaguely sensible - you're not doing it completely blind.

You can do similar with a drum loop (or anything really) by running it stinking hot to the out and checking how it works the compressor... a sine wave is more useful in some ways and less so in others in this case as it is steady state. Smile

Personally I prefer the 'mix it so it holds up under any compression you fucking want' approach, with the super bastard LA2A in the out that I can switch in or out to check.
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Don Cherry Wrote:Every human is blessed in her or his life with one love (passion), no matter how long it may last. This Absolute love will last in one's heart and soul forever.
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#32
Paradigm X Wrote:Ive been reading a lot about this

But how do you set your attack ratio etc before you start mixing ?



And i appreciate if you slap it on the 2bis later, your mix will change, but do you just pick somethuing appropriate to what youre mixing and start?

90% of the time I don't need to change the attack or release settings from the last session but its a doddle to do if necessary.

You can obviously hear it better by lowering the threshold significantly and making the comp work harder, then fine tune the attack and release before upping the threshold to reduce the GR until its where you want it, typically 1 to 2dB at peaks

You'll likely need to alter the threshold from time to time during the session as you build the mix.

Most buss comps dont have continuously variable attack and release times, but a set of predefined times, and often have an auto release setting also that may well work well.
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