The loudest elements that cross the threshold may be the vocal, the kick drum, or a guitar track and will probably be a combination of each those elements at different times. The important thing to keep in mind is that the whole mix will move based on how the loudest transient content crosses the compression threshold. The loudest source signals in a mix will be the first cross the threshold of the mix-bus compressor. Regardless of your choice, a stereo compressor or dual mono with a stereo link option is required for effective mix bus compression as both L/R sides need to react in an identical matter. Familiarize yourself with the general differences between VCA, Tube, Optical, and FET compressors, and pick a mix bus compressor that aligns with a sonic goal. A world of compressors with unique variations regarding coloration, circuitry, and control parameters (or lack thereof) are available. It will largely be dependent on project style and genre. On the other hand, you may seek one that adds warmth and harmonic saturation. The first thing to ask yourself is what you want out of your mix bus compression? Potentially the search is for a compressor that sounds clean and detailed. Looking for a punchy bus compressor? The Waves API 2500 does a nice job at emulating the classic punch of its hardware predecessor However, if you have the means to purchase the real thing, that is really cool too! It is an exciting time for those without the means to purchase the analog compressor that was used in their recent favorite record. It also allows for things like perfect automation and recall, which a hardware compressor is not capable of. There is more good news! The digital replication of analog gear keeps getting better and more accurate. While some purists still swear by their analog go–to’s, there is no question that digital profiling and modeling is doing an impressive job of mimicking the classics. This is true in both the analog and digital realm, and the good news is that many of the highest quality digital plugins are aiming emulate the brilliant circuitry and components of classic analog hardware. There are many great options when choosing a compressor for the mix bus. Hearing the result of pushing faders through the compressor in real time is the key. Doing so will allow the engineer to mix through the compressor with intent. Instead, the a better order would be to instantiate a compressor on the mix bus prior to diving into the mix treatment. The problem is that the compressor changes the balance and transient response of the original mix thus, any prior work done by the mix engineer loses its integrity and intention. That is, novice engineers will often instantiate a compressor after they achieve a balanced mix with fader positions and inserts. The most common mistake regarding mix compression is the order in which it is applied. In this article we will, in simple terms, examine some key ideas surrounding mix bus compression before mastering, and we will go over how to start applying it to your projects. Whether an engineer uses mix compression or not, is not all that relevant how an engineer uses it is. Although the latter is true, it is also true that mix bus compression before mastering is a common technique among many notable mix engineers. Many would argue that applying compression to the entire mix is a job meant for the experienced mastering engineer. However, a common topic of confusion is the use of compression across the complexity of an entire mix. Mix engineers of all experience levels are familiar with how a compressor can be used to control the transient content of various input source signals.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |