Compression Rant

[Chrome Dinette]

Ok, without looking it up, how many musicians can define what compression is?




I am working on something for someone who will regularly ask for compression on something that is either already compressed or that doesn't have really wide dynamic range to begin with.

I am thinking of not changing anything and re-sending the mixes and see if they notice.

Actually, I will just explain what compression is and see if they are really asking for something else.

Of course, there are times when one wants the signature sound of this compressor or that, whether or not one needs the dynamic control, but that is another matter.

[Rex Anderson]

Most have heard that compression makes things louder. Loudness wars are still going on even after attempts to educate folks.

A trick I learned from Bob Katz (mastering engineer)-peak limiting (like Waves L2 etc) sounds worse than upwards compression.

Lopping off the top end of the dynamic is much more noticeable to the ear. A natural crescendo that builds up to a peak volume (0 dB full scale) sounds natural-once you "limit" that, it is very obvious-it stops and has no where to go.

A better method is to use upwards compression-make low level information louder. Bob uses "upwards stereo parallel compression"-a very transparent methodology to get the dynamic of the music to sit well. He refers to micro and macro dynamics and would ride master fader level throughout the mix (sometimes with automation) to keep the dynamic happening.

I always find the peak loudness of the entire CD and set my playback volume to be as loud as I want to listen (usually around 96-100 dB). I then master via what ever method necessary so I never want to touch the playback volume and everything is right where I want it to be dynamically.

I always check spectral balance (bass/mid/treble) at 85 dB spl where the ear is most linear in frequency response.

I think your client just wants it "louder". Tell them to turn up the playback volume and don't get caught up in the loudness war-my CD is louder than yours.

[Chrome Dinette]

Thanks for the informative post, though in my case, if the guy wants something compressed, he usually means he wants something turned down, or possibly(in the case of vocals), made to sound like a telephone.

[buddaman71]

^ So he's referring to "tonal" compression? (limiting the frequency bandwidth, rather than the dynamic bandwidth)

I ran a decent little project studio back in the 90s and understanding exactly what the client was trying to communicate was often the biggest obstacle.

Good luck!

[RocksOff]

I've been quite pleased lately with the attempts by certain Brits to get the damned volume down, ie Paul Weller, Miles Kane.
Their albums are still pretty compressed, but they've turned the peak down quite a bit.

[clintmartin]

Originally Posted by Rex Anderson

Most have heard that compression makes things louder. Loudness wars are still going on even after attempts to educate folks.

A trick I learned from Bob Katz (mastering engineer)-peak limiting (like Waves L2 etc) sounds worse than upwards compression.

Lopping off the top end of the dynamic is much more noticeable to the ear. A natural crescendo that builds up to a peak volume (0 dB full scale) sounds natural-once you "limit" that, it is very obvious-it stops and has no where to go.

A better method is to use upwards compression-make low level information louder. Bob uses "upwards stereo parallel compression"-a very transparent methodology to get the dynamic of the music to sit well. He refers to micro and macro dynamics and would ride master fader level throughout the mix (sometimes with automation) to keep the dynamic happening.

I always find the peak loudness of the entire CD and set my playback volume to be as loud as I want to listen (usually around 96-100 dB). I then master via what ever method necessary so I never want to touch the playback volume and everything is right where I want it to be dynamically.

I always check spectral balance (bass/mid/treble) at 85 dB spl where the ear is most linear in frequency response.

I think your client just want it "louder". Tell them to turn up the playback volume and don't get caught up in the loudness war-my CD is louder than yours.

I would love to hear more about this. I have a hell of a time with compression and limiting. I can put a comp and limiter on with no more than 2 db of cut, and it sounds aweful to me. It seems to increase the low end too much or just sound sqeezed to death. But I'm still learning.

[Rex Anderson]

Check Bob's website, digido.com. Lot's of free articles there. Or buy his book, "Mastering Audio"-it has tons of good information and is well worth it if you're at all serious about learning about audio.

[DGTCrazy]

Sounds like your client, when asking for "compression", is looking for a specific EQ or Tone-shaping that he's not hearing, even when you've already applied Compression.

I've always asked for a baseline by asking a question like "When you say you want compression....what is it you're looking to achieve? Is there a recording that you can give me a reference point? IE: "I want it to sound like Brad Paisley playing his Tele on Shut up and Play" (Hope that makes sense)

It may sound silly, but by having the client explain what they are after...it's usually easy to figure out, because their vision of compression may be something entirely different than what you'd expect it to be.

[LSchefman]

Client-speak...

I had an ad client say each time he heard a demo, "Great, but you need to add more drums!"

So I'd have the drummer bang away on stuff, then we added hand percussion, then we started adding sampled kettle drums...it was nuts.

Finally I realized that he simply wanted the drum track LOUDER in the mix. "Add more drums" threw me completely off.

[RocksOff]

Unfortunately, some people are talking about the sound of a Distressor when they refer to compression. They actually want more grit oftentimes.

[Chrome Dinette]

Originally Posted by DGTCrazy

Sounds like your client, when asking for "compression", is looking for a specific EQ or Tone-shaping that he's not hearing, even when you've already applied Compression.

I've always asked for a baseline by asking a question like "When you say you want compression....what is it you're looking to achieve? Is there a recording that you can give me a reference point? IE: "I want it to sound like Brad Paisley playing his Tele on Shut up and Play" (Hope that makes sense)

It may sound silly, but by having the client explain what they are after...it's usually easy to figure out, because their vision of compression may be something entirely different than what you'd expect it to be.

Absolutely, the best thing is to have good communication and understand what the customer wants.

In this particular case, I think the guy wants to appear knowledgeable and use big words. It's really no big deal, but I think this sort of thing is fed by ads in recording magazines.

I overheard a conversation where a guitar player was talking to someone about how their guitar tracks on a recent project were too thin sounding, and the other person, without ever having opened up the multi track project immediately and authoritatively recommended re-amping as the fix.

[Joseph Hanna]

Originally Posted by RocksOff

Unfortunately, some people are talking about the sound of a Distressor when they refer to compression. They actually want more grit oftentimes.

Assuming you're talking about the old Emperical Labs piece....what exactly is the sound of a Distressor?

Compression, probably more than any other wives tale born of the internet is, without doubt, and by leaps and bounds, the single most misunderstood, mis-represented piece of audio gear in history.

Ironically it's not a particularly difficult concept to master even though MANY confuse bit-depth maximizing with old school analog compression. In the end it takes a small investment of "learning" and a small investment of "application" to get a handle on the basics.

Isn't strange that in a world of recording experts so few take the time to invest in a simple learning curve for a basic "audio 101" concept.

[RocksOff]

Originally Posted by Joseph Hanna

Assuming you're talking about the old Emperical Labs piece....what exactly is the sound of a Distressor?

Compression, probably more than any other wives tale born of the internet is, without doubt, and by leaps and bounds, the single most misunderstood, mis-represented piece of audio gear in history.

Ironically it's not a particularly difficult concept to master even though MANY confuse bit-depth maximizing with old school analog compression. In the end it takes a small investment of "learning" and a small investment of "application" to get a handle on the basics.

Isn't strange that in a world of recording experts so few take the time to invest in a simple learning curve for a basic "audio 101" concept.

Well, what I mean is that I've heard people ask for compression while they were really wanting the Distressor smashed and gritted vocal sound made popular by bands like Jet, etc. And yes, I'm talking about the Empirical Labs Distressor. Quite popular sound amongst a fair cross-section of the population below 50, so I've had many inquiries about it.
These inquiries always start off asking if i "have outboard compression".
Almost invariably, they're asking about the Distressor sound.

And yes, it is funny that people don't study about the basics more. That is, however, the nature of people.

[Rex Anderson]

Weird. The claim of the Distressor is that it can mimic many of the classic sounds of various different compressors. The manual shows settings to do that.

So, what is the sound of the Distressor?

[Sunbreak Music]

Originally Posted by Rex Anderson

Weird. The claim of the Distressor is that it can mimic many of the classic sounds of various different compressors. The manual shows settings to do that.

So, what is the sound of the Distressor?

Slamming the dog snot out of a snare.