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Stereo low
Old-school engineers often use the trick of sub grouping the drums to a stereo pair then applying a stereo
compressor to achieve a pumping sound. AB
...and for everything
Pretty much everything will sound better with a little compression, the whole sonic from bass drums to flutes. DH
Take care on tape
Always remember that, if you're committing totape, then err on the side of caution. Remember you can always
add more if you want to, but it's impossible to remove. DH
Try and try again
Don't be afraid to experiment and, as with all things audio, 'use your ears!' If it sounds good to you, then it must
be
right, regardless of what the manual says. DH
The basic rule
Yes, yes, it's been said before, by many people, but you can never have too many compressors! DH
23 Compression tips
Continued...
Sidechain
The sidechain, or key, is the signal within a compressor which is used to control the
output level. It is when this signal exceeds the threshold that compression is applied
to the main signal running through the unit. A lot of hardware compressors (and
some of the better plug-ins) have external sidechain - or key - inputs so you can use
the characteristics of one sound source to compress another. In this way you can,
for example, use a kick drum track to make a synth pad pump in time with the
music. AC
De-essing
Used mainly on vocals, this is a technique for reducing the level of sibilant sounds
('s' or 'sh', etc) which are significantly
ouder
l than the other sounds associated with
speech. The problem areas of these sibilant sounds tend to be above 7-8kHz,so
reducing a microphone's volume when these frequencies are encountered is the
order of the day. Take an auxiliary send from the vocal channel, feed it through an
equaliser and then into your compressor's sidechain input. Insert the compressor
into the vocal channel. Then use the equaliser on the sidechain to boost the sibilant
frequencies. You'll need to be able to monitor the sidechainni some way, as, as
with all things, using the old shell-likes is the only way to go. Listen to the main
vocal channel to determine the best settings for the threshold and ratio, but use a
fast attack and release time to make the effect as transparent as possible. AC
Guitars
Overdriven and distorted guitar sounds rarely need compression as the process of
overdriving them introduces a fair amount of compression anyway. Clean and
acoustic guitars are a different matter. For that classic, funky, clean sound, use a
fairly low threshold, a ratio of at least 3:1, fast attack and quite a slow release. Add
a touch of chorus or flanging to add the extra icing on the cake. Strummed parts,
electric or acoustic, are better with a higher threshold, the aim being to reduce the
volume of the transient parts of the sound (the strums themselves) while keeping a
steady overall level. As ever, use your ears! AC
Bass
One of the best uses for a compressor is on bass sounds - get a solid, steady
foundation to your track, and the rest will stand up beautifully. Probably. Optimum
settings vary here, as much depends on the type of bass sound - synth, electric,
acoustic, etc - but as a general rule, use fast attack and medium release times, a
medium threshold and a ratio of between 3:1 and 5:1. AC
Have an idea
I realise all those dials and buttons are just calling you over to start fiddling as soon
as you plug the compressor in, but have some sort of purpose first. Are you trying to
make the sound more punchy, more smooth or just keep it under control? Listen
and think before you leap. ST
On the attack
I try to have the attack up (ie, not at its quickest setting) a little on most things if
possible; guitars, for example, really benefit from extra 'front'. Many recommended
compressor settings for parts such as vocals suggest the quickest attack time, but
try it up and see what you think. You can add a little attack on the most unlikely
things to help them stand out more. ST
Using bypass
Having a stereo compressor over the whole mix is generally a good thing, but
monitoring through it when mixing is hard work. While it can be useful to know what
the final compression will do to the mix, you'll probably just be fighting it the whole
time. Leave it on bypass until the mix is almost finished. ST
For effects
There's lots of fun to be had compressing effect returns, if you have the free mixer
channels to set it up. If your delay doesn't quite fade away as you'd like, then
compressing the return may give you the control you're after.ST
Pre- or post-EQ
The difference between having the compressor before the EQ section or after it can
be drastic. When learning about compression, try both options and hear the way the
compressor affects your EQing, and vice versa. ST