Master Bus Compression - Do you use it?

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mattplaysguitar
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September 17, 12 3:46 AM (permalink)

Master Bus Compression - Do you use it?

I've just started to experiment with this. For those that don't know what I'm talking about, it's putting a compressor on the master bus at the start of a mix (or early on) and mixing INTO the compressor for the whole mix. I get the impression it's not done a lot by SONAR users as most times I hear anything on these forums from people it's DO NOT PUT ANYTHING ON THE MASTER BUS! With the reasoning being that a mastering engineer will do a better job. But what's different is that you are mixing INTO it and it will yield a completely different result than if you just slap on the compressor at the end.

For anyone wanting more info, this article sums it up nicely:

http://www.soundonsound.com/sos/may08/articles/mixcompression.htm

Anyway, initial impressions are good. I think I like it. I think it might suit my style of mixing and the sonics I am trying to achieve. I've only used it on one song which I'm still mixing (a song I got from a band I saw recently and they said I could have a go at re-mixing a song of theirs) but it's cool. It seems to bring things together really quickly.

The biggest danger of this is definitely going too hard into it. I have already started doing this in my first mix as I started falling in the cycle of 'turn up the bass' then 'turn up the kick' then 'turn up the guitars', and then everything goes back to the start and your suddenly smashing the compressor really hard and flatlining the song. But I realised early on! So I might need a little re-mixing, but this is a learning process. It's fun. And I think I will like it once I get used to it. I think it'll help force me to be more strict about proper gain staging and levelling as I'll constantly be checking to make sure I'm not smashing the comp too hard.

For this song I started out with an 1176 emulation. Using the Antress Modern plug for that. I think it's a little more gritty than the ProChan 1176 which suits this song. But the LA-2A emulation might sound a bit better on a softer song.

Anyway. Just curious if any of you guys have experimented with this and what you found with it. It's a really interesting way to mix and I think everything should give it a try at least for interests sake.


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    Bristol_Jonesey
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    Re:Master Bus Compression - Do you use it? September 17, 12 4:35 AM (permalink)
    I do.

    My Mastering Chain consists of 4 T-Racks3 modules in series:

    Pultec style EQ
    Linear Phase EQ
    Classic Compressor
    Brickwall Limiter

    Once I'm allowed to spend any more money , I'll be getting IK's Black 76 &  White 2A plugs and see what I can do with these


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    digi2ns
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    Re:Master Bus Compression - Do you use it? September 17, 12 7:08 AM (permalink)
    I normally drop the Cakewalk VC64 on the Master Bus.

    What I have learned to do myself for my way is I try and leave it off when mixing (EQ, Levels, FX adj) then I turn it on and off through out monitoring the levels on all components. I do catch quite often things I need to go back and lower as I go.  

    Not sure for others but for me I notice a huge difference


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    jamesyoyo
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    Re:Master Bus Compression - Do you use it? September 17, 12 8:04 AM (permalink)
    I try to start the tune without anything on the Master Buss other than ARC2. I will add as things get more finished.
    #4
    Guitarhacker
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    Re:Master Bus Compression - Do you use it? September 17, 12 8:19 AM (permalink)
    I add ARC and Ozone to the master buss at the beginning of the project. On Ozone... it's normally a customized preset I start most song projects with. As the project progresses, it might remain as stock... get tweezed, or replaced totally with a different preset as needed. 

    I have been using this method for a long time. (I got ARC earlier in this year and started using it) 

    My reasoning is this: I hear the tracks like they will sound when I export them ultimately in the end. Ozone makes the project sound better...and I like it to sound good even in the tracking stages. To me, it's more inspirational to have a good sounding project to work from as opposed to a duller sounding straight up track. 

    I begin ALL tracking and mixing with the end in mind. So there may be compression, widening, EQ, and other stuff in the master under the cover of OZONE...   As I add tracks, I immediately add the plugs I think are needed to the tracks or in many cases .... plugs are not needed so not added. But as I work I hear what this project will sound like. 

    If I add a plug... be it reverb, or a compressor or whatever else..... it will be affected by the stuff in the master buss so I want to know it right up front, and make the adjustments as I move forward through the tracking and processing of the project. It's easy to disable the plugs to see where a problem might be originating and solve it early rather than starting to add plugs later and have a big mess going on with reverb or compression that is additive from tracks to busses and master......

    This is my work process.... I'm in no way saying it's the right or wrong way to work... just how I do it. 

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    NW Smith
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    Re:Master Bus Compression - Do you use it? September 17, 12 9:46 AM (permalink)
    I will do some light compression on the master bus for some "mix" glue.

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    batsbrew
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    Re:Master Bus Compression - Do you use it? September 17, 12 10:11 AM (permalink)
    I use waves C1 on my master buss.

    i mix into it from the beginning.

    it is set for a very light ratio, slow attack, fast release, and threshold is dependent on the song.

    post edited by batsbrew - September 18, 12 10:29 AM

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    Linear Phase
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    Re:Master Bus Compression - Do you use it? September 17, 12 10:23 AM (permalink)
    Nope, not at all.  

    What goes on my master bus during the composition/mix/production stage is, "a brick wall limiter."  But it is not for master buss compression.  To protect my ears, and monitors

    Also on my master buss during mix/production might be some metering, and some mix tools like, "bx solo."  Everything is taken off my master bus when I render my mix, before the actual mastering stage.  I do use, "bus compressors," but mostly on buses where I have sent many tracks. 



    Then during post production, I have a mastering process I follow.

      That only means, that I do not like master bus compression.  I find it to, "take the air from my mids, and over pump my bass."  YMMV...   It could very well be, that the way I design my sounds, do not take to this philosophy of compression...  

    There are certainly, thousands, upon thousands of tracks, that sound great with this, "master bus compression," but its not for me.

    Cheers 
    post edited by Linear Phase - September 17, 12 10:26 AM

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    #8
    AT
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    Re:Master Bus Compression - Do you use it? September 17, 12 10:31 AM (permalink)
    One of the unanswerable questions and a lot like many old people jokes - it depends.

    My own progress on the question was no - learning during the analog days I simply didn't have anything good to slap on the mix bus at home.  Now with all these dang fangled digital toys that is not a reason, even if you are learning.

    The cons against mixing into masterer mixing bus are simple - hopefully one will find a mastering chain that is indivdualized for the song.  We don't mix w/ exactly the same effects on instruments and mastering should be tweaked even if you only mix one style of song.

    The pros are simple too - you want to mix into  "how the song will be heard."

    Both ways are valid.  Many years ago I was producing a cd and my suggestion was to add a swelling organ for the last verse and chorus to pump up the sound.  The engineer mixed it in low.  Several of us argued to make it louder - I thought it should be as loud or louder than everything else.  But I lost (guitar band, you know).  The engineer winked at me.  When mastered, the organ wasn't as loud as I had orginally hoped, but it was louder than in the raw mix.  And worked.  Such is still a battle of the mix for me.  Different sounds will poke through a mix when bus mastered - if you don't have the experience w/ it the mix job becomes guessing.  My personal songs these days are using a lot of farfisa type sounds which disappear or poke too far out depending upon the notes/chords, playing and other sounds around it.  Not to mention playback systems.  Mix bus compression is the only way I have any idea how the farfisa sounds between songs, or even within them. 

    Since there is no right or wrong I tend to slap a mastering compressor on the output bus but disable it and use it to check how the mix will sound.  I can get the general effect but don't bother to spend too much time tweaking it.  I find it a good compromise.

    Now, if I had an SSL console here at home ...

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    bitflipper
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    Re:Master Bus Compression - Do you use it? September 17, 12 1:30 PM (permalink)
    Depends on the song. What I wouldn't do, though, is use an 1176-style compressor on the master bus. IMO, that's for individual tracks, not busses. But then, I'm a conservative when it comes to compressor usage.

    If you want to try something different, throw the Sonitus Multiband on the master. With gentle settings it will make smooth songs even smoother, and with very aggressive settings will help maximize your volume if that's what you're after.


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    backwoods
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    Re:Master Bus Compression - Do you use it? September 17, 12 1:45 PM (permalink)
    I place a protection limiter on the master- Concrete Limiter is perfect.

     
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    michaelhanson
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    Re:Master Bus Compression - Do you use it? September 17, 12 3:22 PM (permalink)
    Yes, quite often, set VERY light.  As mentioned above, as a little "glue" to the overall mix.

    Mike

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    quantumeffect
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    Re:Master Bus Compression - Do you use it? September 17, 12 3:50 PM (permalink)
    I will second AT and Bit’s statement … “it depends (on the song and your plugs)”.  For me, I like PSP’s Old Timer (starting with the “glue things together” preset and tweaking from there) on the Master Buss.

    BUT, being tone deaf, I use my drums as a guide and I weigh its effect on the sound of the drums.  For example, if I have a compressor on the snare track and a compressor on the drum buss (and I’m liking the sound of the drums) … then the compressor on the Master Buss may make the pop of the snare disappear completely so, I won’t use one on the master buss.

    Alternatively, if I have a compressor on the snare track and tape simulation on the drum buss (I have the Waves’ Kramer Tape, Tubes and Transistors plugs) then the PSP Old Timer on the master buss may work nicely.

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    #13
    timidi
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    Re:Master Bus Compression - Do you use it? September 17, 12 3:57 PM (permalink)
    There's always a compressor or 2 and limiter on the master buss. Whether it's engaged or not is another question.
    In other words, it's there and I turn it off and on as the need arises to hear what's going on. 

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    Danny Danzi
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    Re:Master Bus Compression - Do you use it? September 17, 12 4:00 PM (permalink)
    You'll get 50 different responses to this one Matt as it's very subjective really. I'll give you my take for what it's worth.

    To answer your question, for most things, no I do not do it. In my experience as well as what I've been taught and learned over the years on my own, a compressor on the 2-bus before you mix is used for coloration as well as gluing the mix together.

    The problem with this technique is, you will NOT see the same results using a digital plugin compressor like you would if you ran a hardware compressor in the chain. What happens is this...

    When you add a hardware compressor to your master out from the start, it colors the mix. Therefore, you would use different eq settings in the mix due to this coloration. Without the coloration, these eq settings wouldn't sound good. So you are using the compressor to color more than to actually compress because you'd not want to use a lot here. The settings Bats gave are perfect for this technique in my opinion. You never want to over-do it. But that said, in my experience, unless a compressor can color the sound, you're really not changing much by way of eq if it's just a plug compressor on the channel, understand?

    Now, when I DO do this, I use a UAD Fatso Jr. on my master bus because it is a coloration compressor. It literally chages the tone of the mix just by having it on the master bus. And, it's a change for the better for SOME songs as that extra coloration allows me to tweak up a mix that I'd not be able to get without it. The cool thing about the Fatso is you can darken the tone of the over-all mix or brighten it up a little bit. I like to use the Bus Glue preset they have as I feel it is an excellent starting point. I don't adjust the coloration controls on it because I like what it does there, but I will mess with the compression amount at all times.

    So keep some of this stuff in mind when using this technique. It's important to understand why and where it came from. Guys today are using it to compress the entire mix to make things louder. They aren't using it like the old well-known engineers used to to it. They used glue with coloration. Guys today use cement with 0 coloration other than the loss of dynamics.

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    Jeff Evans
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    Re:Master Bus Compression - Do you use it? September 17, 12 4:45 PM (permalink)
    What about a situation where you can use slight compression over the mix and it does not add any colouration to the sound at all but it still provides this nice slight compression sound.

    Firstly Anderton mentions in another thread he does not use compressor in the mastering process sometimes but I firmly believe that when you apply even very light compression to a stereo mix it seems to just do something that is very hard to describe but I can feel it a lot. And I like it too.

    I have got a Yamaha digital mixer and the good thing about those is all the processes which can be applied on every input and output. The stereo buss had got this very nice compressor on its output if you need it. It is very transparent and does not alter EQ at all. In fact it is so good like that you don't have to be concerned with any EQ changes that might result from using it. Still can be set for low ratio and light compression -2 to -3dB GR. Slowish attack too so transients get through nicely.

    How does it sound? Very nice and it seems to add this layer of smoothness to the mix that I find very hard to describe and you don't hear it until you put a compressor like this onto the mix either. You can get a slight rms level boost in your overall mix from this stage too maybe 2dB or so. If you still use a mastering compression you need to take into account if this 2 buss compression has been used and the audio print you are working with has it on. As ratios multiply it just means lowering the mastering compressor ratio a tad to allow for it. 

    I am like Danny too in that I print many things without it but I find for the right situation it is nice to use as well. I find it helps getting a loud master later as well for a client.

    I don't agree with mixing right into a heavy mastering chain from the start because it means you will never be able to do a great mix without it and you should learn to make fantastic sounding mixes with absolutely no mastering on them what so ever. It develops and tightens up your skills at track and buss levels. The other bad thing about it is it never allows that music to be mastered by a better mastering engineer than you because the music is already mastered and you have just made it impossible to master. I think that doing a fantastic mix first then waiting a week (and really hearing that mix too and you will want to change it!) and setting up a classy mastering chain later and hearing it all fresh too is very hard to beat. If you have the music printed at a pre mastered level there are so many options for later remastering as well.

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    Danny Danzi
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    Re:Master Bus Compression - Do you use it? September 17, 12 7:04 PM (permalink)
    Jeff
    What about a situation where you can use slight compression over the mix and it does not add any colouration to the sound at all but it still provides this nice slight compression sound. Firstly Anderton mentions in another thread he does not use compressor in the mastering process sometimes but I firmly believe that when you apply even very light compression to a stereo mix it seems to just do something that is very hard to describe but I can feel it a lot. And I like it too.

     
    Jeff, quick question. Do you find you have to literally mix INTO the compressor for this method to work? There are times when I just do my mix without a compressor on the 2-bus and throw one on at the end just to keep things a little tighter.
     
    I do this quite a bit actually but didn't mention it because Matt had asked about "mixing into a compressor". I just don't feel mixing into a digital comp gives me any benefits like one that colors does, know what I mean? I'm not knocking anyone that does it this way....you know me, whatever works is what one should use. But I just don't see the need to mix into one if it's not going to really alter how I would mix. Most of us that respect compressors wouldn't use enough of one on the master bus that would really be enough for it to mess with the mix, know what I mean? So therefore, in my opinion there would be no reason to mix into a digital one. Especially if it's not sonically coloring the sound at all. Make sense at all?
     
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    post edited by Danny Danzi - September 17, 12 7:05 PM

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    #17
    IK Obi
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    Re:Master Bus Compression - Do you use it? September 17, 12 7:40 PM (permalink)
    I use the Classic EQ highpassing at like 30Hz, Opto Compressor or the Fairchild 670 followed by ARC. I like it and do it often, but not on everything.
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    Jeff Evans
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    Re:Master Bus Compression - Do you use it? September 17, 12 8:33 PM (permalink)
    No Danny basically I don't mix into it I suppose. Mixing into it could also mean you may be driving it harder than how I use that compressor. For me it is about one of those after things that I just know how is going to effect the sound in advance.

    I suppose it is just a fine layer of that glue that everybody keeps talking about. I like how certain things get reigned in and the overall mix just takes on this slightly more professional sound or evenness etc..

    Sometimes though the mix may change as a result of the compressor being there so then if I know I am definitely going to print a 2 buss light compression mix, I may alter the mix slightly to suit. But more often it is a switch ON switch OFF type thing. Quick listen to the mix before hand and then when happy with mix with compressor on do a print. 


    I have used the Smart C2 in this mode. I want to be able to use the Waves API 2500 in this mode too. I have met a few others who swear by it too Danny! I can hardly wait. But our TAFE is closing down for two weeks so that would be a sensible time to bring the C2 back here for a little stay.

    It is still imperative that if you are using any sort of compressor on your main mix buss for what ever job you want it to do, the quality of that compressor be outstanding. It is your whole mix that you are running through so what ever you are going to apply to your entire mix better be good. 

    digi2ns said above I normally drop the Cakewalk VC64 on the Master Bus. I would not be inclined do that. I don't think it is not a good enough compressor on a whole mix. You are lowering the integrity of a mix by some percentage when you do something like that. (it is probably a much better plugin on an individual track) Try a much better plug in there and see how you mix sounds then. Leave it off for a long time and really learn how your mix sounds without anything there. Get used to that sound and then compare the sound with the compressor to that.

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    #19
    mattplaysguitar
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    Re:Master Bus Compression - Do you use it? September 18, 12 7:54 AM (permalink)
    Danny, I'm interested by your hardware/software comment. You say you don't see the point of using software because the don't add color, and only hardware compressors add color. But wouldn't a software compressor that is trying to emulate a hardware compressor also emulate this color to some degree anyway, thus be good for the purpose still? Obviously don't want this to turn into a hardware vs software thread as there are far too many of them out there. Just that any shootouts of hardware vs software that I listen to, although they don't always sound exactly the same, all tend to at least get a general grasp on the color of the compressor it's trying to emulate. It may only get 80% there or be slightly different too, but it might be totally acceptable too? Just cause something sounds different to the real thing, doesn't mean it's a worse color, just that it's a DIFFERENT color. It could arguably sound better in certain applications.

    Jeff, what kind of quality difference are you talking about here? The way it handles complex transients dynamically, artefact degradation, noise, or just a bad 'colour' to the audio? Are you able to be more specific, or would you say it's a case of 'all of the above'?

    But yeah, I'm talking really mixing INTO the compressor. I actually like the feel of how the riders fight the sound a bit. I like to automate pretty much all my volumes of all tracks so to ride them into the compressor feels really natural and musical for me. I think maybe not doing so could destroy some of the balance and dynamic feel I'm trying to get out of the piece come mastering time - especially as I do my own mastering and and certainly no pro. It might save me a bit in that regard. On the other hand, if I was mixing a dance song, I highly doubt I would mix into a compressor. It doesn't make near as much sense to me there because the dynamics are often different, or at least the way I see them to work. But that's just me.

    I like the protection limiter and I have done that one for a while. Just got to be careful you don't hit it accidentally! I was using Boost for a while as my protection till I realised it sounded like ass. I should get this concrete limiter I keep hearing about...

    Too tired to remember what exactly I was going to say now so I'll leave it at that and go to bed!




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    batsbrew
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    Re:Master Bus Compression - Do you use it? September 18, 12 10:34 AM (permalink)
    i use an outboard compressor (DBX) on almost every track i put in, that isn't a direct track.

    i use it for color, as much as anything else.

    if i had a high enough quality 2-bus compressor, outboard, i would mix thru it, but since i don't, i searched high and low for a compressor (software) that would do what i wanted, the waves C1 works for me.


    if you do not mix INTO a 2-bus compressor, and then add it after you are thru mixing, you will end up with overcompression on any tracks you have already applied compressor inserts on, in addition to any other bus compression.

    i routinely use limiting on my bass bus, and sometimes on my drum bus, and i don't want to change any of those ratios by placing a compressor across the 2-bus AFTER i have already achieved my sounds on those other buses.

    everybody has a different way of getting to the same place, i believe....
    and mixing into the 2-bus compression has almost always been part of mine. dating back to analog days.


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    #21
    Danny Danzi
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    Re:Master Bus Compression - Do you use it? September 18, 12 6:50 PM (permalink)
    mattplaysguitar


    Danny, I'm interested by your hardware/software comment. You say you don't see the point of using software because the don't add color, and only hardware compressors add color. But wouldn't a software compressor that is trying to emulate a hardware compressor also emulate this color to some degree anyway, thus be good for the purpose still? Obviously don't want this to turn into a hardware vs software thread as there are far too many of them out there. Just that any shootouts of hardware vs software that I listen to, although they don't always sound exactly the same, all tend to at least get a general grasp on the color of the compressor it's trying to emulate. It may only get 80% there or be slightly different too, but it might be totally acceptable too? Just cause something sounds different to the real thing, doesn't mean it's a worse color, just that it's a DIFFERENT color. It could arguably sound better in certain applications.

    Matt, I'll try to explain this as best as I can. When you record into, or run audio into a hardware device, it literally does something to the sound coloration wise that I haven't heard from any plugs yet. There is something about how the audio goes through the live circuitry that to me and others, makes a pretty incredible difference.
     
    It reacts to the sound that is sent into it differently than when you add a plug to an already recorded track. Though modeling has come a long way, I can assure you, you end up with a much different sound and experience when you literally process through a hardware piece in real time as opposed to adding a plug that's been modeled.
     
    Of all the plugs that I have tried that claim "tube saturation" or "warmth" to me it is NOT the same sound you get from hardware pieces. I sometimes wonder if the guys making these plugs may be in their 20's and may not have even used real hardware or we wouldn't be as far away as we are with this stuff. That said, of all the companies, UAD in my honest opinion, is the closest to having it down. I say this due to having some of the hardware they have simulated as well as still having a 16 track 1 inch and a 24 track 2 inch for tape machines here. I know how they sound and how they react. Tape saturation/hardware saturation does NOT come by way of ugly digital clipping. That's how these plugs sound to me. You don't get that sound out of a hardware piece even if you use it to the extreme. It's a different type of clipping and before it gets there, the "golden" sound you get hasn't been done in any plugs I've tried other than some of the UAD stuff.
     
    That said, when you mix into a compressor that has coloration or a GOOD saturation sound, your outcome is much different than if you used a digital compressor. I find absolutely no change in my sound coloration wise when using a regular digital comp plug. Turn off a hardware comp running through your system, and the tone literally changes due to it passing through the circuitry. This in turn forces you to come up with a different eq curve than you would have without it. That is the purpose of it. To color and lightly compress/glue the mix AS you mix. If you were to turn off this hardware comp in the middle of mixing your song, your tonality in the mix will change also. This is not the case with digital comp plugs in MY experience. They compress and that's it. They don't alter the tone to where you would notice tonality changes in your mix if you killed them.
     
    That said, I'm sincerely not trying to make this sound like I'm "pro hardware". I am not and am happy I sold a lot of my stuff due to how the UAD and other plugs process. I'm not really into "the coloration thing" to be honest. I am not crazy about warm, analog tone. To me, those tones died in the 70's....I appreciate the broad frequency range we have now with tighter subs and high end air that you would never hear back in the days of classic rock etc. I like mixes that aren't so warm that allow some highs to give things more impact. I hate when things are so warm, a snare drum sounds like you're hitting a cardboard box or a bass has no "ting" or percussive attack to it. I hate when a guitar sounds like the word "yug" (darker) instead of the word "yah". (brighter)
     
    That said, people will hate what I like...and that's ok. The point is, if you REALLY want to mix INTO a compressor, it's only fair that you do it that correct way which is what started the whole thing. To answer your question about a digital comp being better in certain situations, most definitely! But for a 2-bus situation where you are supposed to mix into a colored compressor, it's a night and day difference that you would need to try for yourself.
     
    Like Jeff and that C2 he loves so much. Nothing compares to that thing. Seriously. From him using that so often, he is spoiled. There aren't too many plug comps that can even be "acceptable" compared to that compressor. I would like to hear his thoughts about the Fatso Jr. or Fatso Sr. though because in my opinion, they would be the closest as they really do a nice job with compressing as well as a full range of controlled coloration. And it doesn't just sound like a filter on the plug to control highs and lows...it literally changes the sound as it pumps through the Fatso. The more you use, the more you hear it effect tonality instead of just compressing. This is the comp I use when I DO use the 2-bus thing.
     
    But when I'm not, I would rather have nothing on my master bus. I'll handle all that at the mastering stage and really do not feel it is necessary for me to process a mix with any type of compression other than what goes on my tracks individually. If I had to rely on a compressor on my master bus to make me think it sounds that much better than without (and this is not me having a go at you or anyone else, honest) I'd definitely take a different approach to my mixing strategy. I can get away with no compression on any of my tracks other than the small amount I record with using hardware gear. I like to condition my signal slightly to keep things at -6 dB so I lightly comp at about -1 dB of gain reduction (give or take, sometimes more sometimes less depending on the sound and performance) with a 2:1 ratio or sometimes a 1.5:1 going in on just about everything.
     
    Anyway, I hope some of this explains things better for you. All I can say is if you had like a Manley Slam or an ELOP or even a real Fairchild, you'd know what I mean when you mix through them and then use a plug. The marketers may claim "it's near exact!" but trust me bro...we still have a long way to go on some of this stuff in my professional opinion as well as my years of experience with this stuff. But if something works for you and it sounds good, stick with it. I just wanted to point out the "old way" method of doing this as well as WHY it was (and still is) done that way. :)
     
    -Danny 

    post edited by Danny Danzi - September 18, 12 6:58 PM

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    #22
    IK Obi
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    Re:Master Bus Compression - Do you use it? September 19, 12 3:33 PM (permalink)
    I can understand what you're saying, but it also depends on the audio gear you are running it through as well. Digital wise we are getting closer and closer every year. I'm at a point where I can't tell a difference and I hear a bigger impact with the music, performance and song itself. One day we'll be there. :)
    #23
    brucecage
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    Re:Master Bus Compression - Do you use it? September 26, 12 6:18 AM (permalink)
    I begin ALL tracking and mixing with the end in mind. So there may be compression, widening, EQ, and other stuff in the master under the cover of OZONE... As I add tracks, I immediately add the plugs I think are needed to the tracks or in many cases .... plugs are not needed so not added. But as I work I hear what this project will sound like.
    #24
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