I could be right or wrong but at present I don't blame Soundcloud or any mp3 for that matter for swirly transients and spacial corruption (stereo compression artifacts) we hear. I think Soundcloud compression (possible any MP3 compression simply exposes (the bad in a mix) more. I'm more inclined to believe converters, conversion, mix processing and plug-ins are all part of the bad we continuously hear.
Disclaimer: I am fully aware of how broad the scope of this question is, and how each specific track calls for individual techniques.
That being said, can we discuss when you would want to use serial compression vs. parallel compression?
Certain styles of music?
Analog vs. digital compressors?
Individual tracks or busses?
Different intended effects?
I’m looking for general discussion, anecdotes, guidelines, thought processes, links to other trusted resources, examples, you name it....
Thanks in advance!
i don't think it's any secret as to how Bruce Swedien feels about using compression:
"Compression is for kids."
"Compression is a crutch. "
And finally, if that doesn't give you an idea about how he feels:
"I hate compression."
Hi guys and girls,
Hope you're having a good week.
I think this is a pretty straightforward question.
I can understand that you would want to track a sweet sounding outboard compressor on a vocal or acoustic guitar, or get a more focused sound with an outboard EQ coming in.
The thing is, would you do this with plugins?
Would there be any advantage to setting up plugins and printing them into the recording on the way in, as opposed to just using them later on the recorded sound?
Ok so I've been learning a lot about this whole mixing game. I've done some mixes for some university projects and I'm starting to get somewhat of a hang of it. However, there's one thing that I can't quite decide on.
I know that compression is used to reduce the dynamic range of a signal, and automation is used to control the faders (but can also be used on things like pan and effect parameters). I also see the clip gain option in pro tools and I understand that.
Here's a song I've always liked; I think it's a well-written song to begin with, but I'm also intrigued by the mix.
The vocal is very forward in the mix, and with audible compression, and normally, I don't care for "that" sound, but on this track, it really works.
I searched a bit but couldn't find any info regarding what studio this artist recorded at, or where it was mixed, or who it was mixed by.
The song was recorded and released in '98 - there were still plenty of tape-based studios then, although Pro Tools had been out a few years by then, too.
Hope your mix week is well.
I found this article on subject and thought I would share:
Which got me thinking and searching (with no luck) "who the first mixing engineer was to successfully use mix/stereo/mono/2 bus compression , what year that was, and which compressor they were using?"
Following that, who was the first to mix-into a mix bus compressor?
Hello, new to the forum and I seek wisdom and prosperity.
I'm thinking about the way to mix e.g. a guitar.
First you filter out frequencies, then at some stage you compress.
My thought about this (I may not have understood compression completely yet) is that when i EQ out some Hz, but then add a compressor, wont that compressor boost the Hz i didnt want to some extent?
How would it affect the sound if I were to switch it around. First compression, then filter and EQ?
Please, enlighten me!
I have a question and not sure what the approach of the pro-mixers are.
If I have a track (any type - lets say Kick as an example) which I process with Eq, Gate, Basic Compression etc on the inserts. and I also send this to a Parallel Compression Aux track and now want to add FX (Reverb etc.)
Do the pros route to the FX Aux tracks before or after the Parallel Compression?