Do you like compression?

What type of compression do you like, and why?

Do you use it pre- or post- or both? In other words, do you use it as a pedal for your live/recorded sound? or do you utilize compression as a mixdown and mastering tool?

Do you like analog tape based compression? How about compression in the digital world?

inquiring minds would like to know what you think...

-dp

dp
Do you like compression?

What type of compression do you like, and why?

Dave,

Compression is a necessity when mastering, which is typically accomplished with a multiband compressor. A compressor (functioning more as a limiter) is also the key to loud, slammin' tracks that jump out of your speakers. It's also easy to misuse as "loudness wars" causes people to create tracks whose average level is close to 0 dB (the full loudness of your playback device; e.g., CD player).:roll:

When tracking, mild compression (about 2:1 or 3:1 ratio) can be used on the bass to keep it "even" throughout the track (not too loud, not too soft). For me with "The Lost Boys..." it sometimes has been applied in post-production to preserve "options". (Once you record w/effects incl. compression, you can't undo it.) It's not necessary to compress the bass if your bassist can play with reasonably even dynamics.

People sometimes use compression on a guitar during tracking as an effect to increase sustain (like with the Boss CS-3 stompbox). For surf instro, it's generally not necessary to get that Tom Scholtz sustain that lasts for 4+ bars! Of course, if your music requires a violin-y type guitar part, go ahead and use a compressor either when tracking or post-tracking (mixdown). A compressor (stomp box, rack unit, or plug-in) is a useful tool to keep in the arsenal. Knowing when and how to use it separates the men from the boys.

~ Jonathan

LBOPdot_Net_
We also use the excellent plug-ins provided in Sound Forge 8 (Sonitus).

I too like the Sound Forge/ Sonitus plug-in compression, but I mainly use it in the final mastering stage of a track. I am attempting to produce tracks that have the dynamics (power or well-defined bass frequencies) of contemporary recordings, while still presenting the high-end "shimmer" of old-time AM radio. My experiments focus on capturing high fidelity signals during the recording stage, and preserving these frequencies during the mix stage. Finally, during the mastering stage, I attempt to reign-in the overly-powerful frequency bands by using global EQ and a touch of global compression. I like running the track through a Neve EQ console emulation plug-in...in other words...I utilise a "sim-studio" tool to send tracks "back-in-time", so to speak.

Back in the olden days, I used the inherant compression of my Tascam PortaStudio cassette 4-track to mash-out the overactive frequencies. That technique would produce an early-Who-like distortion on the track. I didn't do much mastering back then, though...my low budget didn't allow for any fancy stuff like that.

-dp

I don't like Compression when tracking, at 24bit I'm not too worried about saturation. However recording without Compression is idiot proof.

When playing live it depends on what I'm doing. It's good for controlling distortion and I like the extra sustain wtih clean guitar.

I have a gray Ross compressor pedal that I bought on sale in the 80's (I can't believe what they go for now on eBay!). I use it in live situations with a light compression setting (10:00 on the dial) and a volume boost to make the leads jump out. It smooths out some of my rough edges and I don't have to fiddle with the volume knob on the guitar while transitioning from rhythm to leads.

When recording, I put the Ross inline to the amp when recording guitar, as opposed to compressing the miked signal coming out of the amp. I find I get a more pleasing tone (to me, anyway) that way.

When mixing down, I put a little compression (Alesis Nanocompressor) on the whole mess to tame any pesky transient peaks that might have gotten by in tracking. Helps make a nice, even-sounding mix.

http://www.aquatudes.com
http://www.facebook.com/theaquatudes

A standard peak limiting set-up is ratio to eternal, attack 10 ms, release 0,3 sec.
I always uses this setting for tracking with a threshold that makes the lights go just once in a while and the output at 6dB usually.

KK

The Exotic Guitar of Kahuna Kawentzmann

You can get the boy out of the Keynes era, but you can’t get the Keynes era out of the boy.

Those settings seem very counterintuitive. I'll try it, though. Thanks.

SSIV

Well, I obviously need to learn more about compression/limiting. (My only experience is the MXR DynaComp, very simple).

Since I have the Alesis Nanocompressor, I was not sure what the "tick" marks on the dials were, I will have to get a calculator and sort that out, assuming they have a linear scale. I did try to get those settings you recommended and what I found was a lot of pumping/breathing. So I just fiddled around and got a sound by ear, mainly (always dangerous if you want to re-create it later). But I did get it to limit. Here is the raw, right from the hard disk stereo track:

http://www.rhodesdigital.com/scubatones/banzai.mp3

Thanks for your help. Howerver. this all may be moot. Just when I get a hardware compressor, I suddenly have my eye on the Alesis io26:

http://www.alesis.com/product.php?id=96

SSIV

when playing live, I use a Keeley, but I don't use it while recording; I'll apply compression to guitar tracks on mixdown, and then several layers of compression (a little at a time) in mastering

the three newer songs are recorded in my studio:

http://www.myspace.com/thebluedemons

http://www.facebook.com/?sk=lf#!/rockinrio.delrosa

http://www.facebook.com/?sk=lf#!/TheHighTides

http://www.facebook.com/?sk=lf#!/pages/The-Blue-Demons

If you are playing or recording quietly, then a neat trick is to use mild compression from a pedal after the reverb tank. This has the effect of 'ducking' the amount of reverb whilst you are playing, but bringing up the volume of the reverb tail in the gaps. Very useful for giving a heavily reverbed sound that doesn't swamp the notes of the melody.

However, if you are playing loud, then the chances are that the natural compresion of a tube amp is doing this for you.

http://www.myspace.com/thepashuns

Youth and enthusiasm are no match for age and treachery.