mastering compression tutorial

That was an excellent video Bat.  I am going to have to try this Multiband approach.  
 
Liked the song too!  

I am not sure about this tutorial at all.  He tends to fiddle a lot and not explain why he sets things where he does.
 
Not enough info about attack settings.  Get this wrong and you are screwed.
 
A great mix does not require a multiband compressor either.  Many great mastering engineers here in Melbourne do NOT use multiband compression.
 
They are a bit dangerous because when individual bands compress the tone can change.  You need to ensure in order to maintain correct tonal balance that all the bands have very similar gain reductions.  I agree they can be useful when you are dealing with a bad mix or a mix that has some drama in a certain area of the mix.  But if you do a great mix that won't be present.
 
A great mix will compress nicely with about 1.5:1 ratio, about 2 to 3 dB of gain reduction and attack settings at least 10 mS to allow the transients through. Release times can vary but generally longer eg 100 to 300 mS. Depends on the groove and tempo of the music.  A good place to start re release settings is calculate how much time a crotchet takes up in the music and start there and work down from that point.
 
The constant zooinmg in and out is also stupid too.  I wonder who the person was who organised that!  Someone who does not know anything about video production obviously.

Well, video production folks also think that walking toward the camera is good production. There are more than a few of us just chalk it up to the whole "this is not real" so we're gonna fake things to make it appear real.
 
/rant
 
and I couldn't watch the whole thing, but it wasn't about the visual.

Google is your friend: https://en.wikipedia.org/wiki/Quarter_note




 
Thanks for educating me!

Jeff Evans
Yes it is an American thing. I actually prefer it myself eg 1/4 note, 1/8th note etc.  It actually says more than crotchet or quaver.
 
Another reason why this video is not so great either is the lack of mention of a VU meter being used in mastering and it is very useful tool.  A VU meter has a ballistic ie how the needle dances to the music and much can be gleaned from watching the ballistic.  A pre mastered file moves the meter in quite a different way compared to the compressed version of it.  The moment you apply compression (even very light)  the ballistic changes quite a lot and I mean a lot.
 
Really great masters move the needle in a certain way.  It rises and falls differently the moment you apply compression.  When you get really good at setting a compressor you can almost do it watching the VU ballistic alone.  All the great mastering engineers I have sat in on doing sessions all used the VU meters.  Funny about that.
 
I realise that not everyone can do this but real VU's still have the edge in the ballistic department. There is just something about them that a VST has trouble matching. The Klanghelm VU VST though is quite close that way and still very useable. I have done some quite exhaustive tests in this area.

Is there any way of visually identifying how the needles dance becomes a positive? Is it describable in words or is it something you can only recognise with the relevant experience and perhaps watching how it performs on well respected existing masters?

charlyg
I have a feeling it's like an old mechanic listening to a V-8.......

Haha yep that's what I'm thinking...

You mean my  Line 6  Toneport VUs are crap?
 
I know, I know. I don't use it anymore. It was my "in" to Pod Farm...

Jeff is still rabbiting on about VU meter's :)...yes I'm sure in the past VU's would have been nice but once you work out where a mix is suppose to sit visually...which is something I've recommended by way of a spectrum analyser...you train your ears to hear how a mix should sound and feel. Try this: https://soundcloud.com/aa.iomystiks/dontmean-maybe
 
One thing I don't think is trumpeted enough is learn how to use what you have...case in point...I use the Waves H-Comp as my main mastering compressor...it's amazing...has a VU meter too-but I've had it for over a year and only in the last two weeks have I got it...first you set a generic ratio...about 1:8 for the master...then you slowly turn the threshold till it starts to compress...then if the mix is still sounding a little hollow...you turn the ratio-up very slowly and amazing is the only way to describe the result...the H-Comp also has a secondary attack or punch knob...I'm not sure but it might be a knee...there is no instructions but you use that to tune the transient and you can hear it when it is correct...finally it has four "analogue" settings again no instructions as to what the analogue knob is actually emulating-hence it takes a year to master said compressor-my hunch is setting 4 is a Fairchild because it makes the stereo image wider...vert lat for those who know what a Fairchild does but it is an amazing compressor for mastering and drums.
 
Another thing I worked out which I knew but because of ADHD/Aspergers (I find it really difficult to change my patterns) was to use a little EQ between the different stages...this allows you to fit everything in...so on the master buss before everything use the Linear Phase EQ to take out some of the bottom end at around 40hz and the top end 18-19khz...just listen and as soon as you hear the difference...back it off a tad...then use the pro channel EQ set to Pure and watch how the spectrum analyser shows you what the track is doing...then tune the transients to the shape of the mix...one day I will get around to doing a tutorial...but when I figured that last step out-understanding how a mix looks in the pro channel EQ and then set the EQ accordingly-even the hardest mixes fell into place.  If you use the EQ before the compressor make sure you use another Linear Phase EQ after...then hunt for the formant of the track...you will hear it...the track all of a sudden opens up...don't be afraid to roll of a bit more bottom end if that kick and bass are clashing...I like to put Waves Kramer Master tape after this...really gentle transient compression and it fattens the bottom end again...and again you might need some more EQ finally the concrete limiter...which has no instructions- is fantastic now I've figured it out...it only took 3 or 4 years...when you switch on the bass boost (which you wont always need) make sure you turn on the release switch and use your ear to tune the saturation...you can hear it when the track pops.  Have a listen to the above link...it only took me 7 years to get it to that point but once you learn how to use what you have...you will be amazed at what you can do...mastering...even without a VU...sorry Jeff...I know you love your VU but I think I could teach you a thing or two without a VU ;)
 
Peace Ben

BenMMusTech
Jeff is still rabbiting on about VU meter's :)...yes I'm sure in the past VU's would have been nice but once you work out where a mix is suppose to sit visually...which is something I've recommended by way of a spectrum analyser...you train your ears to hear how a mix should sound and feel. Try this: https://soundcloud.com/aa.iomystiks/dontmean-maybe
 
One thing I don't think is trumpeted enough is learn how to use what you have...case in point...I use the Waves H-Comp as my main mastering compressor...it's amazing...has a VU meter too-but I've had it for over a year and only in the last two weeks have I got it...first you set a generic ratio...about 1:8 for the master...then you slowly turn the threshold till it starts to compress...then if the mix is still sounding a little hollow...you turn the ratio-up very slowly and amazing is the only way to describe the result...the H-Comp also has a secondary attack or punch knob...I'm not sure but it might be a knee...there is no instructions but you use that to tune the transient and you can hear it when it is correct...finally it has four "analogue" settings again no instructions as to what the analogue knob is actually emulating-hence it takes a year to master said compressor-my hunch is setting 4 is a Fairchild because it makes the stereo image wider...vert lat for those who know what a Fairchild does but it is an amazing compressor for mastering and drums.
 
Another thing I worked out which I knew but because of ADHD/Aspergers (I find it really difficult to change my patterns) was to use a little EQ between the different stages...this allows you to fit everything in...so on the master buss before everything use the Linear Phase EQ to take out some of the bottom end at around 40hz and the top end 18-19khz...just listen and as soon as you hear the difference...back it off a tad...then use the pro channel EQ set to Pure and watch how the spectrum analyser shows you what the track is doing...then tune the transients to the shape of the mix...one day I will get around to doing a tutorial...but when I figured that last step out-understanding how a mix looks in the pro channel EQ and then set the EQ accordingly-even the hardest mixes fell into place.  If you use the EQ before the compressor make sure you use another Linear Phase EQ after...then hunt for the formant of the track...you will hear it...the track all of a sudden opens up...don't be afraid to roll of a bit more bottom end if that kick and bass are clashing...I like to put Waves Kramer Master tape after this...really gentle transient compression and it fattens the bottom end again...and again you might need some more EQ finally the concrete limiter...which has no instructions- is fantastic now I've figured it out...it only took 3 or 4 years...when you switch on the bass boost (which you wont always need) make sure you turn on the release switch and use your ear to tune the saturation...you can hear it when the track pops.  Have a listen to the above link...it only took me 7 years to get it to that point but once you learn how to use what you have...you will be amazed at what you can do...mastering...even without a VU...sorry Jeff...I know you love your VU but I think I could teach you a thing or two without a VU ;)
 
Peace Ben

I tried the H-Comp on the master bus a while ago and was very pleased with how it sounded. Great compressor for all tasks. That analog knob though...sure it just doesn't add hiss? 

I did not want to say that multiband is out either. I think that after reading your post Danny it should be in of course they can sound great.  I like what single band compression does too.  I have a got one or two multibands and sometimes I have put them over a mix and really liked what I was hearing.
 
And yes it is very good how you can do the eq shaping at the same time by raising or lowering the makeup gains of the individual bands for sure. That and the EQ that precedes it would make a formidable team. Every VST you have recommend to me sounds as good as you say and I don't doubt it.
 
It seems that in some ways you have got to get all the bands moving dynamically, even if it’s small, compatible with each other perhaps. To keep the tone intact I find it works keeping similar amounts of GR in each band. It is nice to also keep that compression just sitting on the top part of the loudness changes too.
 
I need a new UAD system in my latest computer. Any ideas or recommendations for a nice multiband outside the UAD realm. No expense variety of course. I do have the multiband inside Harrison Mixbus and it is a nice compressor as well. I like the interface, it is interesting. With that you can set a gain reduction limit so that any band actually stops GR downward at a point and will go no further which I also like too. I find it is very transparent in that mode. Am about to move up to V3 as well on that.
 
 

sharke

BenMMusTech
Jeff is still rabbiting on about VU meter's :)...yes I'm sure in the past VU's would have been nice but once you work out where a mix is suppose to sit visually...which is something I've recommended by way of a spectrum analyser...you train your ears to hear how a mix should sound and feel. Try this: https://soundcloud.com/aa.iomystiks/dontmean-maybe
 
One thing I don't think is trumpeted enough is learn how to use what you have...case in point...I use the Waves H-Comp as my main mastering compressor...it's amazing...has a VU meter too-but I've had it for over a year and only in the last two weeks have I got it...first you set a generic ratio...about 1:8 for the master...then you slowly turn the threshold till it starts to compress...then if the mix is still sounding a little hollow...you turn the ratio-up very slowly and amazing is the only way to describe the result...the H-Comp also has a secondary attack or punch knob...I'm not sure but it might be a knee...there is no instructions but you use that to tune the transient and you can hear it when it is correct...finally it has four "analogue" settings again no instructions as to what the analogue knob is actually emulating-hence it takes a year to master said compressor-my hunch is setting 4 is a Fairchild because it makes the stereo image wider...vert lat for those who know what a Fairchild does but it is an amazing compressor for mastering and drums.
 
Another thing I worked out which I knew but because of ADHD/Aspergers (I find it really difficult to change my patterns) was to use a little EQ between the different stages...this allows you to fit everything in...so on the master buss before everything use the Linear Phase EQ to take out some of the bottom end at around 40hz and the top end 18-19khz...just listen and as soon as you hear the difference...back it off a tad...then use the pro channel EQ set to Pure and watch how the spectrum analyser shows you what the track is doing...then tune the transients to the shape of the mix...one day I will get around to doing a tutorial...but when I figured that last step out-understanding how a mix looks in the pro channel EQ and then set the EQ accordingly-even the hardest mixes fell into place.  If you use the EQ before the compressor make sure you use another Linear Phase EQ after...then hunt for the formant of the track...you will hear it...the track all of a sudden opens up...don't be afraid to roll of a bit more bottom end if that kick and bass are clashing...I like to put Waves Kramer Master tape after this...really gentle transient compression and it fattens the bottom end again...and again you might need some more EQ finally the concrete limiter...which has no instructions- is fantastic now I've figured it out...it only took 3 or 4 years...when you switch on the bass boost (which you wont always need) make sure you turn on the release switch and use your ear to tune the saturation...you can hear it when the track pops.  Have a listen to the above link...it only took me 7 years to get it to that point but once you learn how to use what you have...you will be amazed at what you can do...mastering...even without a VU...sorry Jeff...I know you love your VU but I think I could teach you a thing or two without a VU ;)
 
Peace Ben

I tried the H-Comp on the master bus a while ago and was very pleased with how it sounded. Great compressor for all tasks. That analog knob though...sure it just doesn't add hiss? 

No...1 and 2 are clean...3 is distorted and crunchy...not good for mastering but excellent for drums...4 adds hiss...some crunch but also widens the stereo field...I actually like a bit of hiss and crunch on certain tracks these days...I believe it adds something to the overall feel of the track...you can't hear it when the track is playing...unless there is a quiet section.  If you think about it this way...the world we live in tends to be full of noise and crunch...not even in nature or a pristine environment is it quiet...so adding crunch and hiss makes the sound feel more natural...if that makes any sense!
 
Ben 

Rimshot
To Jeff, Ben, and Danny, 
 
You all have very important comments about this topic and I sure wish you could post an example of a mix where you used the methods described. It is so frustrating to read the words without any audio example. 
I know that can be hard to do and don't misunderstand my wish. 
It's just like Danny has cautioned so many times that the proof is in the pudding. I for one have never relied on master VU's to tell me much except for how hot or not I was. I do look at the individual channel meters/VU's a lot. 
 
In this case, I don't think the issue is to concentrate on how your master VU is bouncing but on how the overall mix is being done. I would love to hear some examples from you guys!
 

 
Hi Jimmy I did but here I will do it again https://soundcloud.com/aaudiomystiks/dontmean-maybe and this https://soundcloud.com/aaudiomystiks/peace-1 and try this https://soundcloud.com/aaudiomystiks/lament-in-d-minor these have all been mastered and mixed in the last week and all with the technique I talked about in my post...
 
Cheers Ben

Rimshot
To Jeff, Ben, and Danny, 
 
You all have very important comments about this topic and I sure wish you could post an example of a mix where you used the methods described. It is so frustrating to read the words without any audio example. 
I know that can be hard to do and don't misunderstand my wish. 
It's just like Danny has cautioned so many times that the proof is in the pudding. I for one have never relied on master VU's to tell me much except for how hot or not I was. I do look at the individual channel meters/VU's a lot. 
 
In this case, I don't think the issue is to concentrate on how your master VU is bouncing but on how the overall mix is being done. I would love to hear some examples from you guys!
 

Hi Jimmy,
 
I'd love to try and whip up something for you to show you what I mean. Unfortunately (or fortunately if you're me lol) I'm at my busy time of year and only have very small pieces of time here and there. I'll see if I can maybe throw something together over the small slots of time I have open.....but I can't promise you. A lot of the stuff I used it on was stuff that's not ready for release yet. I'll see what I can do for you though.
 
Until then, I'm in the camp with you on the meters thing. Jeff prefers to watch them closely, I prefer to just make sure I'm not clipping or spiking. I can look at my wave form and look at the Sonar meters and get the same outcome for the stuff *I* do.
 
As far as the method to the multi band....you have a pretty cool one in Sonar. That multi 64 or whatever it's called, is decent. It can be a bit abrasive if you're not careful though....but I like it better than the Waves multi. There are two stock settings in the Sonar version. Put it on your master bus and load up one of the stock settings in the MB and just mess around with it.
 
Try to get it to the point of where it is lightly controlling your mix. As soon as you hear something pump or breathe, either decrease the threshold on that band or try a smaller ratio. You can get away with 2:1 to 4:1 as long as you don't crush anything. You'll hear the eq being controlled by the compression. This can really tighten things up....but if you're not careful with attack times, you can make things rough on yourself.
 
But I suggest trying the "light mastering" preset and just play with it. You'll know when you have it right. You'll see it compressing the bands down. The key is seeing the bands compress down on the plug without hearing them compress while enjoying what you hear. That's when you usually are using it the right way. That said, it also depends on the material you are working with.
 
Jeff: You can get the Precision Multiband for the UAD 1. It's actually a UAD 1 plug. If you buy one plug this year, get that thing. You'll thank me...it's that good. And, you can just about never ruin a mix with it. It's so seamless, I've been using it in place of my beloved API 2500 compressor, which I have used in my mastering procedure for years.
 
I think a lot of my good fortune lies within the clients I get that trust in me and do what I tell them to do. When a mix comes to me, it's all ready to go because I help the client pre-master it before I touch it. That's part of my service to them....and it's especially helpful when a client comes to me that is a home studio guy. He learns a lot from the experience and ends up with a killer master.
 
That said, when the mix is right, as you know, we don't need to do much to it. It's funny, I have more weapons and tools at my disposal, yet I use less now than I ever did. People just don't realize how important good instrumentation, proper panning, eq and light compression can do for a mix. Less is just about always more. :)
 
But seriously, get that plug....you'll be surprised how much you use it. I used it the other day on a mix for a client that had a whoomfing high gain guitar tone. Every time he chugged an A or a B, the meter went through the roof and you could hear the whoomfing sound take over.
 
So of course, the best bet is to curb that frequency...which turned out to be 120 Hz. When we took the low end out, he didn't like the sound as much. So, I had to keep him happy. I just put the multi band on where the A and B chugs came in....it policed the whoomfing problem, and he still had the tone he was looking for. Simple and painless. :)
 
Michael: Ya know Iyaintgotno accent! You doirty baystids all got the accents! Hahaha! Just kidding man! Yeah, I get that a lot. Had a client say after a video lesson "learned a lot, thanks so much....but man, you're so entertaining....and....and....that accent....hahahahahahahaha I love it!" ;)
 
It's funny, more and more people are dirtying up their bass tones etc. I just never liked that sound. Some really good players that I know are gravitating more and more to that. My guy in my original band is even using a little bit. I still hate it though....lol....I come from the camp where bass is supposed to sound like a piano but with nice, tight low end. I just worked with a band called Points North with a guy named Uriah Duffy. They have a world wide released video that I mixed the music for....his bass tone is insanity. I processed him with a few UAD plugs and we were done.
 
I guess my whole life, I always wanted super clean stuff in all the right areas. Coming from tape and analog stuff as well as me not knowing what I was doing at all times, it's a breath of fresh air to have things super clean in all the right places. I just always cringe when I hear layered dirty guitars along with a dirty bass. I just don't understand the need for that much sonic sludge.
 
Ever hear Billy Sheehan's bass? That's about as far as I'd push a bass. Even there, his sound is a bit more compressed than it is over-driven. Kinda like a compression saturation that sounds musical with the rest of the band. But rest assured, I hate his sound when it's all alone. LOL!!! That doesn't make me right or anything....I just never warmed up to driven bass tones because....well, I've had that horrible bass tone for 1/4 of my recording life from not knowing what I was doing. LOL! I'm glad to be rid of it for good! :)
 
-Danny

Hi Mike,
 
Now that type of growl, I have no problems with. It's that synthetic drive stuff on a bass that gets my goat. And yes, always loved your bass tones! :)
 
-Danny

Thanks Ben for your links to your mixes. I appreciate that reference.
Danny, thanks for the reply. No worries on my side for examples. It would be nice to hear the differences between the start of a mix and the final when using the multiband comp "wisely!". 
 
I keep learning all the time and that keeps me involved. I am comforted to know you are not into the meters thing. No offense to Jeff but to each his own on that point. 
 
All the best.
Jimmy