compression on whole mix?..but I LIKE it already!

[thereminman]

Hey folks-----I finished a track....it's very dynamic with very 'peak'y
percussive instruments----a sort of miniture harp box thing that I believe is called a "psaltry", a few toy pianos, (and voices).

---ok, here it is. I LIKE how it sounds....but it's got dynamic level (ewwwwwwwwwww, that can't be good.)

I've used compression for a while now on various individual instruments during tracking and have learned a thing or two, [and I have used the search function and read up on a few older threads]

I guess what I'm asking is two-fold:
1) If I like it, is it fine (pathetic sounding...maybe skip to question 2)

2) Is there a 'somewhat' standard approach to use on compressors for the overall mixes...i.e.-----'set threshold relatively high', 'set attack quick'

clues: I use a RNC with a 1/2 Teac reel to reel maching, most of my music leans toward '60's influenced pop, but gets out-there sometimes, like this particular track----and I am NOT experienced in using compressors except in tracking---and I know....'use your ears"---but in this case, the changes are MIGHTY subtle.....is there a way to sweeten it just a touch/standard approaches?

thanks for any suggestions!
Blake

http://www.blakejonesmusic.com

[cgarges]

How about subtle settings? (Low ratio, less gain reduction, etc.)

When I get into situations like this, I print a couple of versions of the mix. One with compression, one without. I usually send both to the mastering engineer and let him decide, unless the answer is blatantly obvious from the outset.

From the tone of the thread, it sounds like you're doing this recording yourself in your own space. If that's the case, what does it cost you to experiment?

Chris Garges
Charlotte, NC

[tiger vomitt]

if you dont want to compress it, why would you?

listen to it on a bunch of stereos - is the dynamic range a problem? do the details get lost on most systems? in that case you might want to consider compression..

[sonikbliss]

maybe just a limiter to tame the extreme peaks. a limiter is essentially a compressor with a higher ratio (10:1 or above I believe) and very fast attack and release settings. set the threshold so only the most extreme peaks are getting compressed and it should tame the dynamics enough without killing them. Dynamics=Music

[nacho459]

I think most of the time people use compression during mixing or at least at mastering. I use a slow setting (DIY GSSL) to make the drums pump just a tad, and bring up the really quiet parts, but still keep the perceived dynamics.

[justinf]

to me, the best way to learn about compression it to do what Chris suggests: make a bunch of mixes with exact settings noted and compare. To me there's no substitute for this as opposed to trying to understand someone else's description of it.

I say this only because I remember trying to understand compression theoretically, which helped greatly, but I had to hear it for myself first. good luck. . .

[thereminman]

Thanks guys for the suggestions so far (I'm open to more).
The idea of making multiple mixes is what I'm trying--as guessed above,
I'm doing this in my own space and so it's no big cost or anything.

-----as far as listening----------

yes, I do, but some of the differences are very subtle..and I don't work on a computer screen, so I have no graphic representation to say....'ah, i trimmed those peaks just a touch, even though I can't really hear much difference'.-------I know: "If it sounds good it is good."

In spite of all----any sort of 'starting points' for subtle 'whole mix' compression settings would be interesting...how different people do it, etc.

-----and I also like, on an archived post....where someone suggested more or less---pushing one's compressors to ugly limits to just sort of see what it does and how it 'hears' and 'colors' etc.

all opinions appreciated---much thanks!
Blake

http://www.blakejonesmusic.com

[radiantbrian]

i've tried buss compression with an RNC and it's not pretty. the gains aren't worth the losses even at subtle settings..

if you can rent a nice compressor for a day, try a slow attack, fast release, and a threshold of maybe 6/1 and see if it helps..

i think buss compression is overrated anyway and i'd just suggest mixing it to a nice tape machine at 15ips with a slightly aggresive bias.

[dubaronj]

Are you planning on getting your songs professionally mastered? A lot of mastering engineers hate it when the songs come in with mix bus compression. I wouldn't discourage you from experimenting with bus compression, its a great learning experience, and who knows, you might come up with something that sounds great, but you should keep an uncompressed version for backup.

[bigtoe]

i wouldn't wait for the mastering engineer unless you have a good relationship with someone...make your mix sound good to you...if this requires compression across the whole mix...please do so.

i personally do not dig compression on the whole mix...or i haven't yet. i don't dig it when i hear it on a master either. i usualy prefer the mixes i send in...but i can see where the ME is coming from and the rational behind the compression.

i have to work on getting the volume up on individual tracks inside of the mix so the mastering engineer wont have to deal with this. if they know what they're doing or understand what i'm doing - they correct my mistakes. if they don't know what they're doing or don't know where i'm coming from...they slather it on like cream cheese on a bagel. roll the dice.

Mike

[Dingo]

If there is ANY dynamic range in your song it is WRONG and must be corrected. Put a compressor on the mix bus and turn all the knobs to the right. That will glue your mix together nicely. Then put a limiter right after it for that extra boost all good records have. After you have rendered your file look at it again in your editing program. Unless it looks like a solid line, turn something up and try again. Repeat as necessary.

[Rigsby]

If there is ANY dynamic range in your song it is WRONG and must be corrected. Put a compressor on the mix bus and turn all the knobs to the right. That will glue your mix together nicely. Then put a limiter right after it for that extra boost all good records have. After you have rendered your file look at it again in your editing program. Unless it looks like a solid line, turn something up and try again. Repeat as necessary.

[Devlars]

In spite of all----any sort of 'starting points' for subtle 'whole mix' compression settings would be interesting...how different people do it, etc.

Well I have an RNC and when I mix I generally run through that to mildly tame any peaks (really hard hitting drum passages etc.) while still maintaining the integrity of the song itself.

Now I do not use 1/2" reel to reel (though I do have one, needs repair) but since you asked for settings then I will tell you where I start, but understand that we have have different equipment and therefore the results might be as much so.

Anyroad here is my default starting point:

Threshold: -5
Ratio: 4:1
Attack: just under 0.6
Release: just under 0.3
Gain: +7

[mjau]

Just leave the bastard in place...it apparently already sounds great. Why mess with that, right?