Tips On How To Use Compression

[Micki]

I'd like to know if anyone here has any tips on how to use compression. I'm currently using the dp-24 to do some fine tuning on some songs in the mixing phase and mastering phase, and I'm inexperienced with using compression. However, even though I'm inexperienced at using compression and even though I typically favour not using too much of it, I'd still like to use some in a selective way for certain areas of my songs that can benefit from a tweak here and there. If anyone here can give some advice on this topic then I'd really appreciate it.

 

[Matt B]

Big topic. Some recognized producers say to use very little, and take advantage of the dynamic range that digital offers. Some say compression is "the voice of modern music," and liberal use defines good production. Some say use very little because the 'net, radio, etc. will compress it a bunch anyway.

My thought is that in recording and mixing, compression can be used for musical effect, such as making an acoustic guitar very prominent in a mix. Compression can give a piece of percussion a more mechanical and predictable place in a mix. Or it can be used to conceal flaws - like compressing a bass guitar to make the level more consistent.

Me? I compress vocals slightly while recording to even out levels and give prominence. I compress electric bass a lot because I am a crappy player and need the help. I might compress an acoustic guitar or percussion if I want it to be very prominent in the mix. I use a computer plug in to compress the entire mix, in order to give it the presence and intensity of other recorded music. (Compression can make an element more prominent by reducing the dynamic range, but it can also make it less "ear catching" by eliminating the natural changes in volume.)

I hope I have not made things worse!

 

[Micki]

Thanks for your input on how you use compression. It's always interesting to find out how other people use different techniques for engineering. Personally, I really only need a very minimal amount for mastering in order to make sure there are no loose ends in the mix. I keep almost every bit of dynamic range once everything is tracked. I do however use some compression on certain drums though other than that really I almost never use compression. Every project though does indeed require different mechanisms for realising it's desired result. In regards to my current specific need I'm only interested in using compression for making sure there aren't any unwieldy high peaks and low peaks thus it's more for maintenance than for anything else plus I may do a remaster that has more of a current day radio version to it.

 

[Ethan H.]

Hello. Would Mr. Matt B (or anyone else) have any good advice for what settings to start with on the compressor? I'm not very experienced with using a compressor and I feel like I'm shooting in the dark, selecting threshold and attack values at random hoping to get a better sound.

 

[-mjk-]

In my opinion, when a compressor is used properly, you cannot hear it working, but the compressed track sounds thicker.

 

[David Porter]

Hello. Would Mr. Matt B (or anyone else) have any good advice for what settings to start with on the compressor? I'm not very experienced with using a compressor and I feel like I'm shooting in the dark, selecting threshold and attack values at random hoping to get a better sound.

I'm not really one to ask about compression settings. But I am curious... were you wanting some guidelines on using the dynamic effects compression effect for one or more of the inputs - in other words - are you wanting to add compression on the way in as you track?

Or were you looking for pointers on using the compression effects that is part of the mastering phase/step on these machines - which equates to adding compression to an entire mix?

 

[Lasvideo]

Joe Gilder. Professional mixer and all round great teacher on compression. https://www.facebook.com/joegildermusic/videos/2114583575524848/

 

[-mjk-]

i really wish people would stop using Facebook for important information.

 

[Lasvideo]

 

[-mjk-]

Hello. Would Mr. Matt B (or anyone else) have any good advice for what settings to start with on the compressor? I'm not very experienced with using a compressor and I feel like I'm shooting in the dark, selecting threshold and attack values at random hoping to get a better sound.

hi Ethan,

i'll try to help you get the sense of how to utilize a compressor. the old units used to be called "leveling amplifiers." it might be hard to image an amplifier lowering a signal level, but that is what a compressor does. in some respects it could be compared to riding a fader, but used properly, a compressor can make a track really think, and cut through a mix.

a peak limiter just takes care of the top of the signal, so to speak. it does what it says: limits peaks. but a compressor can bring lower level signals up if they get below the threshold you've set. this is really useful for things like capturing natural breath sounds that singers make between notes (depending upon the genre of course). it can also make really thick guitar sounds (think "Boston"). used too heavily though, it can cause "pumping" sensations or unrealistic dynamics, so always use the minimal amount.

attack and release times can be confusing, but generally (very generally) start out with attack fast, release slow.

that should give you something to work with.

 

[-mjk-]

Tom! You're THE MAN!

 

[Lasvideo]

MJK, glad to help!

 

[-mjk-]

Tom, i noticed that about you. you are a very helpful person indeed!

 

[David Porter]

Whoops. I just noticed that the OP specified that he was looking for compression tips as it relates to mixing and mastering a full mix - not individual tracks. I somehow missed that.

 

[-mjk-]

Mixing would include compression on individual tracks as well.

 

[Ethan H.]

Thanks to everyone for their advice.
Mr. David, what I'm trying to do is keep my bass kick drum from those extra loud hits that result in a clip while maintaining (and possibly even accentuating?) the nice "slap" sound it makes.
I've already recorded the drum tracks.

My method has been to apply the guitar effect compressor to my kick drum track while bouncing it to an unused track. Then, I'm free to use compression on another track and I mix/master with the bounced track and "clean out" the first (uncompressed) one. (I think this is what the most helpful Mr. Tipping suggests, but I could've forgotten)

The guitar effect compressor doesn't have the same settings that most compressors seem to have. I guess it is a simplified compressor or something.

Over the weekend tried a different approach. I sent the kick drum track to the Send 1 output and used a TS cable to route it to an input whereupon I tried using the compressor found in the dynamics. This presented a problem for me because I couldn't hear the thing while I was in playback. I had the track record enabled; I don't know why it didn't work. The meters wouldn't get anything until I hit the record button, but I didn't want to record, then adjust the compressor, erase the recording, try again........

Any suggestions? Is the guitar effects compressor any good?
Is there a way to hear the track while you are routing it back through an input?

I hope I'm making myself understandable. Thanks again!

 

[-mjk-]

Ethan, assign the dynamics compressor to the kick drum track and bounce to another track. Do it as many times as necessary to get it exactly how you want it. Don't settle for anything less until you get it perfect. Do not concern yourself with how many times you have to bounce and re-record, because this is digital.

 

[Ethan H.]

mjk,
I was under the impression that you could assign dynamic effects only to inputs, not tracks.
Maybe I'm missing some basic knowledge?

 

[Mark Richards]

Ethan, re routing your drum track to an input so you can apply Dynamic compression and monitor the impact on the signal:

To monitor an input and it's EQ/Dynamic effects without recording the signal or being in record-ready, assign the input to the stereo bus. (Assign screen). The virtual fader on the input's mixer screen controls the input signal level going to the stereo bus. (Mixer screen).

More here:
http://www.tascamforums.com/threads/dp-24-32-how-to-use-inputs-a-h-with-the-stereo-bus.5534/
(Also note the correction in post #2 of that thread)

Bringing the original drum sound into an input and assigning that input to another (different) track (Assign screen) and arming that new track (Record-ready) will send the input signal, and it's EQ/ Dynamic effects, to the recorder first and thence to the stereo bus. (The input's virtual fader has no impact on the signal going to the recorder.) The track fader controls only the track playback signal going to the stereo bus. If you use this method, you can quickly compare the impact of the input's Dynamic compression on the drum v the original drum sound by bringing up the faders on both tracks and using either the solo or mute buttons to turn the tracks on and off. (be sure the send for the original track is set to pre.) If you record the drum compressed by the input Dynamic compressor on the new track once you're satisfied with the compression, this also opens the door to all kinds of creative options for blending, panning, EQing, delaying, etc the two drum sounds when you mix.

You're right about Dynamic effects...available only to inputs A~H. The OM block diagram lays out the pathway, as demonstrated in Phil Tipping's Video Tutorial #4.

Also keep in mind that the "Effects" (reverb, delay, chorus) are available to the stereo bus if one of those three effects are turned on and the input's or track's Send 1 levels are raised. You might want to use the Send 2 circuit for your particular situation to avoid unintended consequences.

 

[Ethan H.]

Mr. Mark,
Thank you! I can see that you are wiser than I in the ways of the DP.
I never thought of the virtual fader for the input and I'll bet that was my problem. I do know that the input was assigned to the stereo bus.
Also, your idea of using Send 2 does seem a bit more fool-proof.
I always add reverb to the vocals with the Send 1 (I think it makes the lead singer sound like Mr. Fogerty from CCR).

I will try your idea. So many helpful folks on here.......