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Post by tonycamphd on Apr 7, 2015 11:15:15 GMT -6
I really only started this thread so that we might share stories, problems found and sorted, and techniques for dealing with an oft-overlooked problem. One of the discussions we have yet to have is about pre-EQing versus post-EQing the signal. Notch or bandpass before compression or after compression? What are your collective thoughts? (btw, Randge, nice last post there!) earlier in this thread.... realgearonline.com/post/55181/threadall my filtering is done very first thing before compression, you would be amazed if you compared a freq response chart before and after filtering, the whole waveform gets totally skewed, that is the reason i'm a linear phase filter junkie on all but low transient tracks, beyond that, and 98% of the time i'm eqing after compression, BUT i totally subscribe to Randy's method, as less is more in my world. |
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Post by noah shain on Apr 7, 2015 11:22:19 GMT -6
I think a big part of the issue might be loss of transients. Without a transient almost all instruments (in the same octave) will sound alike AND a bit muddy. When I encounter this I take a look at my attack time and try slowing it down or I'll use more than one compressor in series so I can vary the attack/release behavior...kinda mess with the envelope but retain more transient. I feel like when I use a compressor to ELIMINATE dynamic range I end up not liking the sound. When I use a compressor to MANIPULATE dynamics is when I most often am pleased with compression.
I will say that I usually like the sound of compression better when I cut going in and boost coming out.
But a Bass guitar with no transients...what a mess.
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Post by tonycamphd on Apr 7, 2015 11:38:06 GMT -6
I think a big part of the issue might be loss of transients. Without a transient almost all instruments (in the same octave) will sound alike AND a bit muddy. When I encounter this I take a look at my attack time and try slowing it down or I'll use more than one compressor in series so I can vary the attack/release behavior...kinda mess with the envelope but retain more transient. I feel like when I use a compressor to ELIMINATE dynamic range I end up not liking the sound. When I use a compressor to MANIPULATE dynamics is when I most often am pleased with compression. I will say that I usually like the sound of compression better when I cut going in and boost coming out. But a Bass guitar with no transients...what a mess. I agree with most of this, and i always say used correctly, compression adds dynamics, it shouldn't take them away. But most of the time it depends where you placing things in the image, for instance, i can drop a bass guitar back and right to the floor by fast attacking the transients right off, if you leave them on, it brings the bass forward and up, and if you don't want the bass forward and up, you back off level, and those transients disappear anyway, and then you have to blah blah blah lol.... so as usual, it all depends (and btw, i could give a flung poo if someone on a laptop can't hear the bass because i peeled the mids 8) |
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Post by noah shain on Apr 7, 2015 13:18:33 GMT -6
I think a big part of the issue might be loss of transients. Without a transient almost all instruments (in the same octave) will sound alike AND a bit muddy. When I encounter this I take a look at my attack time and try slowing it down or I'll use more than one compressor in series so I can vary the attack/release behavior...kinda mess with the envelope but retain more transient. I feel like when I use a compressor to ELIMINATE dynamic range I end up not liking the sound. When I use a compressor to MANIPULATE dynamics is when I most often am pleased with compression. I will say that I usually like the sound of compression better when I cut going in and boost coming out. But a Bass guitar with no transients...what a mess. I agree with most of this, and i always say used correctly, compression adds dynamics, it shouldn't take them away. But most of the time it depends where you placing things in the image, for instance, i can drop a bass guitar back and right to the floor by fast attacking the transients right off, if you leave them on, it brings the bass forward and up, and if you don't want the bass forward and up, you back off level, and those transients disappear anyway, and then you have to blah blah blah lol.... so as usual, it all depends (and btw, i could give a flung poo if someone on a laptop can't hear the bass because i peeled the mids 8) Hahahaha!!! Yes! I agree. Didn't mean to state anything I said as an absolute! I do sometimes have to sit on a bass with an L1 to get it right. Not a transient in sight. I guess my post was meant more as general theory or suggestions of things to look at (with examples). We all know that in practice we do whatever we have to. I'm often flabbergasted when I look at my own signal chain. And then you bypass it all and it's almost identical!!! |
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Post by drbill on Apr 7, 2015 13:36:33 GMT -6
Automating an extra hr instead of compression smashing everything into a hole is how I want to live. Maybe try cutting your compression usage in half and do some automating and see what it sounds like to you would be my recommendation. Yes. I use much less EQ and compression than a lot of my peers, but use automation a LOT more than they do. To each their own way..... |
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Post by mrholmes on Apr 9, 2015 17:39:28 GMT -6
I am not a pro but at the time I am mixing a song with a crest factor at over 12 dbfs. In my opinion this song teached me that we too often use compression. Sometimes just lowering the fader solves the problem, or ride the fader. Compression can have unwanted artifacts and they do not always sound good.
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