j.hall wrote on Thu, 29 December 2005 12:11 |
fact of the matter is, knowing how a compressor works, and knowing how to work it musically are vastly different things.
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J speaks the truth (again).
Second only to equalization, in my opinion, compression is the most abused process during mixing. And compressing while tracking is best kept for those that truly understand - try moving the mic a bit before using a comp in tracking.
I observe compression being applied because folks think they SHOULD apply it - perhaps because they read it in a magazine or within these forums. Apologies, but the plug-ins make it even worse - especially in the hands of novices.
Its the ears, not the gears.
Don't just strap a comp on a bass because "that's how its done". Granted if the track needs dynamic processing, then do it. Or if the client is seeking something in particular and the 1176 or Distressor is the only way to get there, then go for it.
Reminds me of a vocal track that was recorded. Upon listening back to it, nobody in the room liked it. The performance was perfect but the capture was poor - didn't serve the purpose of the song. I was assisting at the time. Engineer turns around to me and says something like, "I don't get it, I used a U47?!?"
Turns out the voice sounded better through a different microphone.
I see similar situations with compressors. Currently I'm working on an acoustic guitar-centric project. "Out of habit" a compressor was strapped across the acoustic. One day while mixing, a recall was not performed and the mix came from the ground up (my favorite, BTW). Client says to me, "what did you do to the acoustic?" I reply, "nothing... yet." He says, "its perfect, don't change a thing."
All the roughs he had received before had compressed acoustic tracks - again "out of habit".
I compared previous mixes to the one without the compression and -go figure- sounds better. More lifelike and open. Granted, I gotta ride the faders between the strummy-strum part and the picky-pick part but hey, that's called mixing.
Now don't get me wrong, I LOVE compressors, compression and compressing - but its gotta be, um, appropriate - you know? Its gotta SERVE the track (and the tune). Pumping room mics are very cool, but maybe not for a ballad - certainly not for a jazz trio.
Mixbus compression has its place. But to hang a comp there ALL THE TIME is a bit much, IMO. That's coming from a guy who has had a mixbus comp in-line for many years and now does not have one - but only for a few years. When the tune NEEDS it, its easy enough to patch it in - but I have found I use it less and less. Instead I've been concentrating on getting the mix to fit with the FADERS, which is much more fun for me - and sounds better to my ears, too.
As always, YMMV.
Warm analog regards,
Thom "Fig" Fiegle