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[NelsonL]

T. Mueller wrote on Thu, 11 December 2008 04:56

Quote: One time the A/V section said something nice about my band. I knew it was too good to be true... Are YOU the promising local area band??  No WAY!!!

We show up, but that's about the only promise we can be sure of.

[j.hall]

Podgorny wrote on Thu, 11 December 2008 01:00

j.hall wrote on Wed, 10 December 2008 11:25 i want the fastest release i can get away with.  if that doesn't make sense, then set your buss compressor on it's fastest release, and hit it hard, and hear what happens.  if it doesn't pump like crazy and the lowend still sounds open and big, i think you've found your release time. My attack time changes based on the material, but release time always stays on auto.   The faster release times can sound exciting when you a/b, but I like how the auto mode behaves (and how I respond to its behavior).

auto release is great.  you have to get used to mixing into it.  totally a different approach.  i've also found that auto release works best with faster attack times.

have you tried the fastest attack with the 10:1 ratio on auto release?  just barely tickle the GR meter......i mean barely!

[j.hall]

maybe this will help, maybe not.

http://www.thetarhythm.com/BussCompression/Repair.mp3

i did that mix last friday 4dB of buss compression.

[Jonah A. Kort]

j.hall wrote on Fri, 12 December 2008 13:46

maybe this will help, maybe not. http://www.thetarhythm.com/BussCompression/Repair.mp3 i did that mix last friday 4dB of buss compression.

the sound of rock n roll.  



P.S. New LIJ kills, J.

[osumosan]

J, Do you mind telling us how the tape stop bass note was achieved at that break near the end? Did you just run the mix and stop the machine at that point and then edit the mix pieces back together? Inspired. The low end is so big and really open, too.

[Podgorny]

osumosan wrote on Sun, 14 December 2008 20:06

J, Do you mind telling us how the tape stop bass note was achieved at that break near the end? Did you just run the mix and stop the machine at that point and then edit the mix pieces back together? Inspired. The low end is so big and really open, too.

The effect is called Vari-Fi.  It's part of Digidesign's D-Fi plugin pack.

http://www.digidesign.com/index.cfm?langid=100&navid=115 &itemid=1009

If you're on PC/VST, there's a free plugin called "TapeStop" that will do the same thing.



PS: J, I tried your mix bus compressor settings, and now my mixes sound awesome.  THANKS!

[j.hall]

Podgorny wrote on Mon, 15 December 2008 00:18

PS: J, I tried your mix bus compressor settings, and now my mixes sound awesome.  THANKS!

glad it's working for you!

[rankus]

Thanks for all the tips and the posted example J.  I am going to give Bus Comp another look... Although quite happy with my current workflow / results, it's always good to get a few more tricks in the bag.

[j.hall]

not sure that example helps at all.  i just don't like tons of talk about overall techniques when there isn't really anything tangible to base it on.

[bob ebeling]

Hey J.
One suggestion for a different preset to try on the SSL.  
I think this could have some use for you because I use an Alan Smart C1 very similarly to how you are using the SSL.
Also, the mp3 you've got up really shows your preset because of a lack of transient punch.

Set the Attack to 10 (seecond to slowest)
and Release to -3 (second from fastest)

These presets, especially at 4:1 with 2-4db gr, give the beginning of the phrase more grab.  I think it's more the attack
that is doing it, so you could leave your favorite release.  It's really the sound of these units, the punch and bump at 80hz.
For some reason when the attack is at it's slowest (30), everthing smooths over more, less punch.

Also, thanks for the tip on auto release in conjunction with faster attack settings.  After 20 years of engineering I still can't get myself to quicken attack times or slow down release times, but this setting will help alot I have a feeling.

This actually brings up a possible new subject...hell, I'll go start it.

[Nick Sevilla]

I tend to not use a mix buss compressor.

That said, sometimes a client opens their wonderful mouth and says they want a louder rough mix.


Then I tend to use software like the Focusrite D3, the Waves SSL comp, or even the API 2500 comp. Depends on the song.

I set them to Limit only, set the threshhold so it only grabs the biggest peaks of the whole song, and comp to 1:1.5, or the lowest it has, fast attack, and fast release.

I listen to make sure I do not really hear it going. My aim is to hit onyl the peak transients, and allow the mix to come up in level a few dB.

When I deliver to mastering, I always take off any of the mix buss stuff. I let the mastering guy do his job.

Cheers

[bob ebeling]

'wonderful mouth' lol

Depends for me on several factors.  First, if the mixes are never gonna make it to an A-list mastering, or even B or C, then I'll smack that ass just enough to hear skin on skin but not leave a hand print.  
If the mixes are destined for some good objective next step, then it's up to musical style.  Rockin' jams and club bangers will get the sexy spanking.  Smooth jazz and feelings music maybe not.
I do love hearing great masterings that do it up right.  It gives records more of a unique signature when they don't have the smack in a box sound.  But the mastering budget has to be up there for me to trust that this will happen.  

[T. Mueller]

Quote:

My aim is to hit onyl the peak transients, and allow the mix to come up in level a few dB.

RMS, or peak?  Just curious.

[Nick Sevilla]

T. Mueller wrote on Mon, 12 January 2009 07:32

Quote: My aim is to hit only the peak transients, and allow the mix to come up in level a few dB. RMS, or peak?  Just curious.

Peak Transients. If I did RMS, it would be squashed beyond all comprehension...

Cheers

[red cross]

Nick Sevilla wrote on Tue, 13 January 2009 11:30

T. Mueller wrote on Mon, 12 January 2009 07:32 Quote: My aim is to hit only the peak transients, and allow the mix to come up in level a few dB. RMS, or peak?  Just curious. Peak Transients. If I did RMS, it would be squashed beyond all comprehension... Cheers

Are the comps you use fast enough to catch those peaks? I almost always end up having to resort to brickwall limiters if I need to "louden" mixes that are already peaking near FS.