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Post by Deleted on Jun 20, 2014 23:02:47 GMT -6
OK, lot of smart, experienced guys here so I thought I'd ask.
How do you go about setting Master Buss Compression? Do you set release to pump with the groove? Do you set the attack based on letting the snare through? What are you listening for? What are you looking to avoid?
PS. I'm not asking for settings and truthfully, I'm not unhappy with how things are going for me - just looking for a possible learning, procedurally.
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Post by jeromemason on Jun 20, 2014 23:24:40 GMT -6
Sort of depends on what you've got on your buss I guess. I like the Vari-Mu VBC from Slate and that pretty much lives on my buss because for me, it works the best. Some other like SSL type, some like the Focusrite type. With that said,
I usually will set mine with the HPF so that 80 and below are coming through, only because that seems to clog up the compressor and makes me feel like I've bottlenecked my sound. I mix with the compressor on, so if anything below the HPF is flabby or loose I will go to the source and filter until it's right. I like fast attack with a medium release and the needle just barely moving, between 0-1db of compression. In my opinion when it comes to buss compression, if you're allowing attack for the snare you're compressing to heavily. If your mix is punchy w/o the comp on, when you turn it on with the fastest attack it shouldn't take anything away from the punch, if it does, then you've got the snare or kick too loud and some things need to be fixed in the mix so the drums cut w/o adding level. For me, that provides the most glue and makes the mix feel larger, anymore than that and it starts to feel small. I know you didn't ask for settings but that's the only way I could answer your question. And that's just my way and philosophy on it, I'm sure other do it differently, and as long as they are getting great results there is no wrong when it comes to the buss.
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Post by noah shain on Jun 20, 2014 23:30:39 GMT -6
For me it's sometimes for transparent-ish increasing of lower level info and maximum perceived loudness so I'm trying to time attack and release so that I don't hear ANY pumping. Sometimes I'm looking for some additional smack and envelope shaping on transients (like snare) so I'll speed up attack to shave that baby down a little.
I'd say most of the time I want an increased sense of urgency...vague, I know. I always fuss with attack and release a bunch as well as listening to the compressor with extreme gain reduction (for me 3 db or more) and then with almost no gain reduction and experiment with attack and release at those extremes. What I never seem to like is more than 1-1 1/2 db of reduction on hardware compressors. I'm not the guy that compresses 6 db and then let's the comp work the whole time. The key for me has been to get that meter dancing in a tiny little arc but really with a nice swing.
Lame description right?
This is all hardware.
With plug ins...anything goes. I find hardware comps more finicky.
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Post by Ward on Jun 21, 2014 11:12:16 GMT -6
You need to establish the operating parameters first. Are you
1. Mixing OTB on an LFAC? Or a smaller console?
2. Mixing hybrid?
3. Mixing in the box and using a plugin for your master buss
4. Mixing ITB but running your stereo buss into a buss compressor on the way to a master deck or back into two channels in your DAW?
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Post by Deleted on Jun 21, 2014 16:15:42 GMT -6
You need to establish the operating parameters first. Are you 1. Mixing OTB on an LFAC? Or a smaller console? 2. Mixing hybrid? 3. Mixing in the box and using a plugin for your master buss 4. Mixing ITB but running your stereo buss into a buss compressor on the way to a master deck or back into two channels in your DAW? 4b. For me and I'd happily hear anything specific you have to say about that but I be equally happy just hearing about your approach. |
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Post by Ward on Jun 21, 2014 17:01:47 GMT -6
Well then @heartfelt, that sure makes it easier! Well, you should have multiple outs on your interface, (that's a must) and then we begin...
If you are not using an analog submixer, then you're putting everything out through two outputs. Simply make sure your meters are showing no more than about -3 average and patch that into your stereo buss comp. Knowing what you are using (or plan to) would make a big difference. Your stereo buss comp is likely a comp and limiter, so you can use the two sections to work hand in hand and get you the results you want.
start with the threshold around the nominal '0', medium-fast attack, medium release to 'ride the waves'... you'll find you may need to adjust the levels of certain mix elements as they hit the compressor. I find I often need to give the snare a little push, and brightness, and reduce the amount of compression ITB on kick. the master buss comp is going to take a pounding from the kick and if you do it right, the kick and snare will gently nudge the rest of the mix down in their favor, giving the beat a nice solid foundation. Now what ratio to use for compression? I would say start with 2:1, see what happens... if you don't really 'feel' anything, pump it up to 4:1.
Now as for the limiter section. The ratio is usually preset to 20:1 and threshold should be set to '0'.
Start there and let us know how you make out!
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Post by svart on Jun 21, 2014 19:31:01 GMT -6
For me, since I have hardware SSL master bus compressors, it's is simple as slowest attack, fastest release, and adjusting the threshold so that peaks are hitting around 4db GR. Most people use these with either the slowest or next to slowest attack, and either the fastest or auto release.
I think with bus compression you never want more than 4-5db of compression or else stuff starts sounding funky.
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Post by Deleted on Jun 21, 2014 22:14:21 GMT -6
Ward, that is me in a nutshell. Med attack and release, about 3db at 5:1. With other comps, I never would have gone 5:1 but it sounds ok with this one.
I figured some of you guys were fine tuning by timing to stuff in the music and that's what I secretly hoped some of you would chat about.
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Post by bluesprocket on Jun 22, 2014 11:27:01 GMT -6
Oigh...man this seems like it changes every couple of years for me.
I used to work into a buss compressor all the time. Usually would be the first thing patched in (or setup in the DAW if it was ITB). I'd often try to get the release to sit somewhere along the lines of the tempo of the track and then just play with the attack until I got the desired "glue". Problem I found was that my mixes were never as wide as I wanted. So I stopped mixing into a compressor and tried to use only use compression on individual channels and groups, that got me closer to where I wanted to be, but sometimes something just wouldn't glue and then the comp came back out, and it stayed for a while.
These days I'm back to sort of using the comp just for last minute glue or level boosting. I just really like to have the full stereo field to play with, and a lot of comps tend to narrow the field a little. Sometimes I just go for a limiter to knock down the tops of things. My main goal is to get it to sound gelled and as much "like a record" as I can before I throw the 2 bus chain at it too much, then I'm just using it for final spit and shine.
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Post by Deleted on Jun 22, 2014 16:28:52 GMT -6
.3 attack
fastest release
2:1 ratio
bring the threshold down until or back it off until it's glued.
Everyone of my mixes in my portfolio to the one I'm working on now, always an SSL type or the Red from VBC.
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