Hello--
 
What techniques do you use when you need to compress a track in the mixing phase, and then use compression on the overall mix while mastering so that track doesn't sound overly compressed, or a way you don't want? 
 
A follow-up question is, what do you think of the transparency of the sonitus multi-band compressor? Good quality? I've never used it and just read a review on SOS that sounds like it could be a life saver--or maybe a take saver as long as it doesn't color the sound.
 
Thanks guys!

II rarely have to compress audio tracks as I always use a light compression as I track. My tracks are very even as a result. The exception is of course real drum tracks which even though compressed , they can be a little untamed. 

But yes that compressor is very easy to set up and apply. 

Lately, and I know some will disagree with this, I have been getting excellent results applying the LP 64 Multi band to my master buss. I leave it flat but cut the low end a smidge. 
I find it tames any overs and my mixes come out at about just right volume. It will also show if you have problem frequency bands that are too hot so you can deal with them at the track level. 

I like to see all the bands tickle the meters. The highest band never does. If the meters are constantly showing at 2 or more bars your over compressing your mix. 

Cactus Music


II rarely have to compress audio tracks as I always use a light compression as I track. My tracks are very even as a result. The exception is of course real drum tracks which even though compressed , they can be a little untamed. 

But yes that compressor is very easy to set up and apply. 

Lately, and I know some will disagree with this, I have been getting excellent results applying the LP 64 Multi band to my master buss. I leave it flat but cut the low end a smidge. 
I find it tames any overs and my mixes come out at about just right volume. It will also show if you have problem frequency bands that are too hot so you can deal with them at the track level. 

I like to see all the bands tickle the meters. The highest band never does. If the meters are constantly showing at 2 or more bars your over compressing your mix. 

Yeah, compression is a very subjective thing. You've added some good points for me to consider though.
 
Thanks,

Compressors won't do much damage if used lightly. That's the ticket. Start with the lightest settings and go from there. 

But all good recordings start with each track being a good even level with the dynamics being an important part to the overall sound. This  depends also on the type of music. Heavy rock can take a lot more compression than jazz would. 
FFor me it's most important to have a steady level on the Kick, Bass and vocals. The rest can drift in and out. 

Depending on the style of the song, I use subtle compression on tracks, and advance in steps. Sometimes I add two compressors after another with similar subtle settings.
I use ManyBass (by ManyTones) for bass, and it has a compressor of its own and is very, very adjustable, so I do most bass-tweaking inside it. For drums, the Addictive Drums' MIDI beats don't usually need much compression, IMO.

I try ro build it so that in "Mastering" I don't need much compression either, but still get loud enough.

I started using very light master bus compression to help get mixes together quickly, then I slowly lower the compression and listen to what sticks out and fix those tracks. I started doing this using the PC2A Leveling Amp Pro Channel, but I don't think it's the right tool for the job. I switched to "The Glue" for the last mix I did and it turned out real well. I really want the Waves SSL, but that's another story...

I also use compression on certain tracks and always on the drums, although the Percussion Channel really is very useful for drum tracks.

My general philosophy for all DSP: heaviest at the beginning of the signal chain, progressively lighter further down the chain. Compress the sh*t out of individual tracks if you like, but use gentle settings on sub-busses and little or nothing on the master. That applies for EQ, too.

I use the Sonitus Multiband often, but only because it's the only multiband compressor I have (I'm waiting for FabFilter to make one!). It has some notable limitations (fixed number of bands, no crossover slope option, no sidechaining), but also some great features (ability to adjust all bands at once as a group, continuously-variable knees). As far as transparency, I've not detected any problems such as crossover distortion or aliasing. But then, I normally use it with gentle ratios and knees.

Very valuable information all. This is pretty much what I was looking for. I'm working on a track with some acoustic guitar where I'm strumming, and the dynamics need to be tamed a little (probably my playing) but I also want the option to use a little compression on the overall track when I master to get a good...master.

My concern was what would happen to the acoustic guitar track that I originally compressed in the master, and as stated, if used with constraint, it's what's commonly done.

BitFlipper--thanks for the input in the Sonitus. What I really liked was the solo feature I read about. Sometimes I want to slightly elevate an instrument and I'm not sure of it's frequency or Q. With the solo feature, it looks like I can make sure I'm not robbing or boosting a contiguous instrument's frequency by using it.

Thank you all

For remedial applications, I tend to use dynamic EQ more than multiband compression. It gives more precise control over problem frequencies and can be more transparent. I'm using Meldaproduction's MDyanamicEQ. The multiband is usually just the ticket on busses, though.

One thing to remember if you're chaining compressors is that the Ration control will operate by multiplying, not adding.

So if you have 3 in total, with ratios of 2:1 3:4 & 4:1 - this give an effective ration of 24:1