All the words in the world can't explain what you have to hear for yourself. Our goal is to give you the base knowledge needed to begin mixing with a compressor on the master track. Get in the Mix: Maximizing mix loudness with brickwall limiters, Solving common mix problems with limiters, Understanding and using multi-band compressors/limiters, Controlling frequency content with multi-band compressors, Understanding and using transient shapers, Keying gates and compressors (and/or ducking), Managing gain staging and headroom and fixing over-compressed tracks, Get in the Mix: Using mix bus compression, Get in the Mix: Working with parallel compression, Working with "modeled" vintage compressor/limiter plug-ins, Building healthy compression/limiting habits, Get_in_the_Mix_ProTools9_ProTools10_FoA_Comp.zip. Then slowly drop your threshold down until you're seeing anywhere from one to three decibels of compression. However, it’s actually fairly simple once the understanding takes place. MIX HACK: Signature Series plugins. You can use compression five different ways that all sound different but still GOOD. In a nutshell, mix buss processing is the application of one or more signal-changing processes (such as compression or EQ) to the stereo buss or master fader. Remember to ponder these options as you set up your stereo bus compression. You'll find it on every single mixing console (usually as the last channel on the right side). You shouldn't be attempting to get to perfection yourself, just semi-close. Mix bus compression takes time to get accustomed to, but once you start nailing it, your listeners will notice. Some swear by leaving all of this work up to the mastering engineer. It's not nearly as complicated once you understand what you're not supposed to do! The discussion of which type is best for bus compression rages on, but it's my opinion that whether you're using a valve, vacuum tube, or transistor to get the job done matters little. But sometimes we want these initial transient hits to exist, so we set a slower attack. Take the example of a modern rap song with a huge, tuned sub-bass kick acting as the kick and the bass. If you have a good understanding of how a compressor works, go for it. Make sure to think about your source material. My opinion on this is that it should be left to the mastering engineer. We aren't looking to squash anything here, just glue it together. Another very common occasion where compression can't provide a complete solution to mix balance issues is when dealing with very critical tracks, such as (typically) lead vocals. I highly recommend using this type of compression on your master bus. Take a listen to this mix before and after bus compression through a plug-in version of the famous SSL bus compressor. You don't want your release longer than when the next kick or big guitar strum comes through. It's like the discovery of atomic energy. The problem arises that the faders get wonky. To put it in simple terms, the mixing board takes all of the different instrument channels and combines them into a single pair of Left and Right channels. The best way to gain an understanding of how each of these works is to use a plugin that allows you to switch between each emulated circuit type with the same settings so you can listen to the changes. For example, I may use a compressor on my kick, snare, toms, and overhead individually, but I might also use a compressor on the entire drum sub mix to achieve an effect that's not possible through adjusting the individual compressors in isolation. This is the core difference. And finally they're hitting the stereo bus compressor. What you should know before watching this course, Using the "Get in the Mix" Pro Tools and Logic Pro session files, Hardware and software dynamics processors, Understanding makeup gain and gain reduction, Demystifying compression controls: soft knee vs. hard knee, Get in the Mix: Using compression to even out a vocal performance, Get in the Mix: Using compression to add punch and sustain to drums. They stop doing what you expect them to do. In this first installment of the Foundations of Audio series, author Brian Lee White shows how to improve the sound of a mix with compressors, limiters, gates, de-essers, and other dynamic processors. There are very few topics and techniques that amateur mixing and mastering engineers will avoid out of the sheer complexity and thus confusion. When you're done you can re-dial in the make-up gain. Faster tempos will need a faster attack and release. Trends come and go but the Distressor never falls out of favor. Just Industry News, Tips, and Exclusive Deals. Maybe we want a really smooth, Pat Metheny style guitar sound, so we set a slower release. Now that we understand why bus compression is so powerful as a mixing tool, let's get hands on with an example, and get in the mix. • With that being said, there are some features you will appreciate having that will make your life a lot easier and bypass the need for too much extra auxiliary bus compression. Jared has surpassed his 20th year in the music industry. Welcome. You'll notice that you don't even need a side-chain detector (as mentioned below) because these beasts come with high-pass filter and mid-range detector options.
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