Thread: Alan Parsons - NO Compression?

He's one of my favorite producers but I don't agree with this in the slightest, especially today. Nothing more awesome than an awesome compressor or two or three or four etc in all sorts of styles and sounds. Music has evolved a lot since the Eye in The Sky. Back then, bass didn't even move your woofer like today. Different flavours for different folks. Plain and simple. There are no rules, if it sounds good, its good.

BUT, don't kill the transients and that's why he and many people are against comps and limiters. I agree but if you have a vision and flavour , know why you are using them, they are the greatest thing since apple pie.

Amazing! But if AP said it, he must have had good reason for it on his recordings.

Originally Posted by bigtree

He's one of my favorite producers but I don't agree with this in the slightest, especially today. Nothing more awesome than an awesome compressor or two or three or four etc in all sorts of styles and sounds. Music has evolved a lot since the Eye in The Sky. Back then, bass didn't even move your woofer like today. Different flavours for different folks. Plain and simple. There are no rules, if it sounds good, its good.

BUT, don't kill the transients and that's why he and many people are against comps and limiters. I agree but if you have a vision and flavour , know why you are using them, they are the greatest thing since apple pie.

Yeah, I agree with you; I like what good compressors do musically especially. But Alan said that within only the last year or so, along with saying he was getting into Cubase as a DAW choice. So is he still... doing automation instead of using compressors? It would appear so, if what he said is true.

Was he saying he doesn't use them now, or has never used compressors? Across the stereo mix, or on individual channels?

I just listened to "I Wouldn't Want To Be Like You" - and I find it hard to believe there isn't compression on the bass guitar, kick drum, and lead guitar in particular.

He's had the luxury of working with some of the finest musicians in the studio, that certainly makes consistent levels a lot less of an issue. Plus some of his stuff would benefit from the natural compression you get from tube mics and a big juicy 2" tape running at 30 ips, without technically using a hardware compressor.

Automation, not sure if I would be using it a replacement for that either. Both makes more sense. Why rule out one or the other. I use compression for more than controlling volume level ( although that's what it does too). I use it to soften, enhance, add vibe , blend, side chain (big topic there). Hmm, there is great benefit to the use of compression rather than never using it. To give a blanket statement like that doesn't make sense. But, everyone has their own taste's too. But in Pop music, its very appealing to say the least.

An LA-2A going in > AD and part of a hybrid system is awesome. A Nail doing the NY compression is killer for songs built around big bass.

The reason these guys are saying this is more around killing the transients in sounds that are pure. Like classical music, or an rich acoustic song etc. You don't need to use compression on every track in a mix. I use them more on stems, and as flavour or glueing things.

Depends on the song and taste.

This is why, an extreme example and what damage occurs if you don't know what you are doing:
Loudness War Explained

Common sense .

I could not find the quote. Do you have a link? AP is selling a DVD on recording. There is a 31 minute segment on compressors and limiters. If he never uses them, that's a really long time to say so.

I know that Bruce Swedien, as one of the best engineers in the world, also preaches 'no compressors'. Whether Mr. Jones, or whomever is producing the project, subsequently uses compressors in the mix-down... I don't know.

Working in a great sounding room, using the perfect mic, with A-list talent (with great voices AND mic technique), a big budget, and having the luxury of doing 10,000 takes until it's perfect - has got to be a good place to start.


[I narrowly missed a chance to meet Mr. Swedien and visit his studio while I was in Florida on a job a few months ago - hopefully next time.]