Sunday, April 7, 2013

SNR Podcast #41 - 4/7/2013 - Compression... Again

It's been a while since we've dedicated a whole show to the topic of compression, almost a year in fact. So we brought the old horse out for a few more... er... laps. There's really no end to this topic. There's always something more to learn and to hear. As always you can check out the YouTube version right here or use the MP3 link below to stream or save for later.

1 comment:

  1. Hey guys,

    First off: great episode. Very concise,too. One could tell that you actually came prepared :D

    Secondly, I want to say that Anth, I DO like you, why wouldn't I :) I have some sense of humor, no grudges here at all!

    Thirdly, I want to mention an old compression "trick" I've been using quite a bit lately. I found that for certain instruments and voices, the "annoying" frequencies can change quite a bit, depending on how hard the artists hits the mic / instrument (duh), but it's something that gets a little hard to "fix" by eq alone, so I tried to use the functions on my digital compressors to remedy that. One singer I work with tends to sound a little too harsh/mid-rangey when she really belts it out, so what I do is: I activate the key filter on the channel comp (which I basically use for "safety" or mild corrections as you two were saying as well on the show as well).

    I set the key filter to around 2.5k, and adjust the slope. What this does of course: when she sings low notes, even when she gets a little louder, the comp barely does anything at all, but when she hits the higher notes, the compressor starts reigning the volume in a bit. I use the same technique on a violin player, when he plays some higher notes, the violin gets raspy/scratchy real quick, so I have the key filter set to around 5k, which helps to balance it out nicely. Adjusting the slope lets you set up how the smooth the transition from no compression to full compression is.

    If I were working with analog equipment, I would absolutely experiment with plugging an eq into the sidechain of a compressor to do the same thing.

    And I can only second what you said about trying stuff out in your daw if you don't get to mix "for real". I actually tried the trick I just mentioned in the box, before transferring it to my live setup. Especially since the advent of all those digital consoles it has become really easy to emulate all the things you can do in a daw.


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