Running my mix through 2 compressors. ELI5 please

Sammigz · Post by **Sammigz** » Thu Jun 04, 2015 9:38 am

Just bought 2 DBX 560A's.
I'm looking for a detailed explanation on how to run my entire mix through both compressors for stereo compression on my entire mix.

I think I partially understand the process, but want to make sure I'm doing it right.

Thanks in advance!

joninc · Post by **joninc** » Thu Jun 04, 2015 1:14 pm

are you using a analog console? or ITB?

either way - you need to send the LEFT OUTPUT of either your DAW or console to 1 channel of the compressor and then out of it to the LEFT INPUT of your capture device (that you are printing the mix to) and do the same for the RIGHT side.

Then I'd start at low ratios like 2:1 or 3:1 and play with the threshold - I never want to do a huge amount of gain reduction as it can be too noticeable and distracting to get too pumpy. Usually I am aiming to do 2-3 dbs on peaks and not much more. You might want to go more extreme.

keep the comps output at zero unless you are way low in your levels and need a little more gain.

haven't used that particular compressor but i have played with some of the other DBX and the overeasy setting can be cool too.

have fun!

Sammigz · Post by **Sammigz** » Thu Jun 04, 2015 1:49 pm

joninc wrote:are you using a analog console? or ITB?

either way - you need to send the LEFT OUTPUT of either your DAW or console to 1 channel of the compressor and then out of it to the LEFT INPUT of your capture device (that you are printing the mix to) and do the same for the RIGHT side.

Then I'd start at low ratios like 2:1 or 3:1 and play with the threshold - I never want to do a huge amount of gain reduction as it can be too noticeable and distracting to get too pumpy. Usually I am aiming to do 2-3 dbs on peaks and not much more. You might want to go more extreme.

keep the comps output at zero unless you are way low in your levels and need a little more gain.

haven't used that particular compressor but i have played with some of the other DBX and the overeasy setting can be cool too.

have fun!

Awesome! Thanks for the insight!

I am using a Tascam FW1884 board, and the 2 500 series DBX'S [through a patchbay]
.
Maybe I'm thinking about this all wrong....

Do I make a stereo mixdown of my tracks first and use that?
To my understanding, I make a stereo mixdown, and then use that mixed-down stereo track through the compressors. But I guess that's the same as running all the tracks through.

I'll have to sit down and play with this for a while.
I have my DAW output i/o set as main stereo output L&R. I would have to change those to mono tracks? And then run each through like you explained?
I'll do some playing around... one last question... does any panning get applied to the captured compressed tracks?

Thanks a TON

joninc · Post by **joninc** » Thu Jun 04, 2015 1:54 pm

Sammigz wrote:
Do I make a stereo mixdown of my tracks first and use that?

no - you want to print it through the compressor as you print your mixdown - unless you want an uncompressed version to compare with.

I have my DAW output i/o set as main stereo output L&R. I would have to change those to mono tracks?

Not sure how your DAW works but I have L and R channels for stereo outs so that is effectively make a stereo CH mono.

does any panning get applied to the captured compressed tracks?

absolutely

The Scum · Post by **The Scum** » Thu Jun 04, 2015 4:41 pm

So there's one odd thing here:

You'll be using a pair of mono compressors to treat a stereo mix. Looking over the users manual, it doesn't look like DBX have any sort of stereo link-ability on those guys.

Two mono compressors don't exactly add up to a real stereo compressor.

A real stereo compressor will compress both channels together - something loud on the far left will cause both channels to compress equally. With dual mono compressors, a loud noise on the left only compresses the left, so the mix swings to the right.

Some mono compressors have some extra connections that allow them to be ganged into stereo (the rack-size DBX 160, as an example).

One other somewhat odd thing to note is that if you use Mid/Side encoding/decoding, you can use two mono compressors in a stereo situation without causing the side-to-side shifts when one side compresses and the other doesn't.

Magnetic Services · Post by **Magnetic Services** » Thu Jun 04, 2015 4:42 pm

joninc wrote:
Sammigz wrote:
Do I make a stereo mixdown of my tracks first and use that?
no - you want to print it through the compressor as you print your mixdown - unless you want an uncompressed version to compare with.

On the contrary, I always mix first, then treat the final mix afterward. It's just safer, because if you do it horribly you can go back and try again. Or send the untreated mix to an mastering engineer.

Another important thing you'll want to consider, Sammigz, is using one stereo compressor with both channels linked, instead of two single compressors. Usually 2-channel compressors have a "link" button that makes them compress both channels equally in response to signal on either of them. If you don't link them, then the left and right of the mix will be compressed independently, which would sound pretty weird if you had, say, a soft flute panned to the left not engaging the compressor much, and a bongo track on the right making just the right side of the mix go crazy.

...if that's super confusing I'll try to clarify. Here's a paragraph on wikipedia about it.

http://en.wikipedia.org/wiki/Dynamic_ra ... eo_Linking

You'll probably want to do this when compressing any stereo signal (like drums or piano), to avoid a shifting, uneven-sounding stereo field.

Edit: the poster above me pretty much explained the same thing 1 minute before I posted

joninc · Post by **joninc** » Thu Jun 04, 2015 5:24 pm

Some engineers prefer to specifically NOT link the sides for the reason of gettig more motion between the sides. I prefer this generally as well.

Magnetic Services · Post by **Magnetic Services** » Thu Jun 04, 2015 8:23 pm

joninc wrote:Some engineers prefer to specifically NOT link the sides for the reason of gettig more motion between the sides. I prefer this generally as well.

I haven't tried this, but I wouldn't rule it out. It might be cool as an effect but for treating a whole mix I'd probably wanna stick to linked channels most of the time.

If you wanna get really wacky you could sidechain the drums or something else to key the master buss compressor!

ott0bot · Post by **ott0bot** » Thu Jun 04, 2015 10:15 pm

I don't think you'll find that method useable for a mix bus...you'll definitely want a linked pair of dual-mono's or a stereo comp. Everyone else did a good job explaining why.

A better method for those DBX's would be creating stems of like items you want panned to the same location. Then using the comps to compress mono stems, then pan assign the printed compression stems during the final mix. Drums, back ups, strings, piano...those all seem to benefit with group compression. Otherwise I'd just track and print with them on individual tracks one or two at a time and nudge into sync.

joninc · Post by **joninc** » Sat Jun 06, 2015 10:05 am

Respectfully, I disagree. If you do some googling on this I think you will find many engineers prefer to use non linked compressors on the stereo bus and it's an absolutely legit option.

Definitely try it and decide for yourself if you like it.

ott0bot · Post by **ott0bot** » Sat Jun 06, 2015 10:58 am

joninc wrote:Respectfully, I disagree. If you do some googling on this I think you will find many engineers prefer to use non linked compressors on the stereo bus and it's an absolutely legit option.

Definitely try it and decide for yourself if you like it.

I have tried it with a few different comps, but never found it particularly effective, especially when you have a lot of hard panned rhythm elements. My general goal with a mix buss comp is to smooth things out not rough it up. I'm all for crazy elements within the mix that could be sticking out sideways and have dynamics being pushed in unexpected directions, but when it comes to the final mix, I do like some cohesiveness.

I'll try it out again one day, but I sold off my only pair of comps that were the same but not linked. I could try it with software though...send my mix to two separate mono auxes, slap the same comp on the left & right and see how it pans out.

Magnetic Services · Post by **Magnetic Services** » Sat Jun 06, 2015 10:18 pm

All bickering aside, it's definitely good for someone who's new to the concept to know about this! Probably better to start with the "standard way" before trying deliberate techniques to get more wibbly-wobbly stereo motion.

ott0bot · Post by **ott0bot** » Sat Jun 06, 2015 11:03 pm

Magnetic Services wrote:All bickering aside, it's definitely good for someone who's new to the concept to know about this! Probably better to start with the "standard way" before trying deliberate techniques to get more wibbly-wobbly stereo motion.

how dare you accuse me of bickering, what I was doing was called squabbling.

...but yes, this was my point as well.

joninc · Post by **joninc** » Sun Jun 07, 2015 4:07 pm

Yes, except he has already bought the compressors and wants to try running his mix thru it!

I say, go for it!!

Jeepers guys, this is tape op! Experiment! Have fun! Do it "the wrong way" and see if you like it!!

ott0bot · Post by **ott0bot** » Sun Jun 07, 2015 5:48 pm

joninc wrote:Yes, except he has already bought the compressors and wants to try running his mix thru it!

I say, go for it!!

Jeepers guys, this is tape op! Experiment! Have fun! Do it "the wrong way" and see if you like it!!

It's true, try it the heck out and put an end to this insesive bickering...but it better be some Tchad Blake shit or I'm quitting.

Message Board

Running my mix through 2 compressors. ELI5 please

Running my mix through 2 compressors. ELI5 please

Who is online