https://www.homemusicstudio1.com/mastering-formula-dynamic-range-compression/?gw=161719814&utm_source=ActiveCampaign&utm_medium=email&utm_content=Mastering+Formula+Part+2%3A+Compression&utm_campaign=Mastering+Formula+Part+2%3A+Compression
 
 
might be of interest to someone
 

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

Thanks bat. Good video and info!

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.

Jeff Evans
 
 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.

 
Hey Jeff,
 
What's a crotchet? Not sure what you mean there. Quarter note? Eighth not?
 
Thanks

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.

Jimbo21

Jeff Evans
 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.

Hey Jeff,
What's a crotchet? Not sure what you mean there. Quarter note? Eighth not?
Thanks

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

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




 
Thanks for educating me!

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.

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?