Mixerman wrote on Fri, 14 May 2004 09:23 |
I'm not making generalities that haven't already occurred in other threads, on other Mastering Boards, discussing this identical subject matter. There are three ME's on this board giving advice not to use a compressor on the stereo bus, purely from the perspective of elitism. To this moment, there are no MEs refuting these recommendations.
|
Usually when this question comes up (often), at least myself, Brad, DC, and a couple others tell them to use compression if it helps. The only caution, which is a fair one, is not to limit purely for level, and not to compress just because you think you are supposed to. Go ahead and use it if there's a reason and don't feel like you're not supposed to. That's what I said in my post, and in all the other posts when this comes up on a multitude of boards, so I disagree that nobody has said it.
Of course I've seen the other guys on the other boards saying it, and like you, though I may understand (not necessarily agree, but understand) why they give the advice to beginners, I certainly don't think those beginners will ever learn how to do it right if they don't practice.
Quote: |
Apparently, the 3 of you that DID supply an answer don't approve of his choice of compressor, so you automatically assume it would not be good for the stereo bus. In this particular case, with this particular engineer, it just might be the perfect compressor./
|
Somebody said that - I just told him to remember that his whole mix goes through it, so be honest with himself when he listens, and avoid crappy ones, meaning in general. Apart from that, I said clearly that if it works, or if the producer loves it, keep it. Just make sure to think before you jump. I'm thinking I'm agreeing with you - just offering the reasonable caveats that have nothing to do with whether it's going to mastering or not. If that's been lost in translation, let me quote myself again:
"don't feel that you can't compress during mixing."
"It can be a integral part of the sound you are after and an important tool for your creative expression."
"the processed one may sound great, and if that's the way the producer liked it, it may be the one to roll with"
(even if it's not the sexiest comp and it has stereo wideners - if it works, it works. Just make sure it really does, then don't look back)
Quote: |
I addressed this whole board in general because of the silent majority. You call it generalizations. I call it experience on this subject with MEs, and I call it recognizing a lack of willingness to give the entire story. I see a whole lot of MEs that come to this board giving the easy answer. (SNIP) you should perhaps encourage him to fuck up a few records and learn how to mix it on his own.
Hope you're well Jay,
Mixerman
|
Thanks MM, I am, and hope you are also. I'm all for your post and your perspective. You indeed need to screw up a few times to learn, and indeed should be handling the mix during the mix and not expecting your job to be done for you in mastering. The mix should be finished by then. We're in agreement with that.
What I resist is letting those few guys you refer to as giving bad advice for elitest reasons be the ones that our whole profession is judged by, because there's a whole big pile of us that don't agree with the elitest point of view. You warn 'em aout all the bad ones, and I'll remind 'em that there are some good ones out there too.