{"id":1158,"date":"2016-12-10T14:53:26","date_gmt":"2016-12-10T14:53:26","guid":{"rendered":"http:\/\/abletunes.com\/blog\/?p=1158"},"modified":"2021-07-07T12:59:35","modified_gmt":"2021-07-07T09:59:35","slug":"mix-tech-series-part-3-dynamics-compressors","status":"publish","type":"post","link":"https:\/\/abletunes.com\/blog\/mix-tech-series-part-3-dynamics-compressors\/","title":{"rendered":"Mix Tech Series Part 3: Dynamics & Compressors"},"content":{"rendered":"
Theory Basics, Studio Practices And Some \u2018Haute Couture\u2019 Free Tools To Check…<\/h5>\n

Hi there, studio guys\u2019n\u2019gals<\/p>\n

For those who\u2019ve already read PARTS 1 & 2 and waiting for more – 3rd Article in #MixingTechniques series just arrived, dedicated to another vital stage of the mixing process on top of the techniques already delivered in previous articles (for those who missed them and willing to have a read\u200a – \u200aplease follow these links: PART 1<\/a>, PART 2<\/a>)<\/p>\n

To make the reading \/navigating a bit more comfy, I\u2019ll be sectioning every Article in this Series as: #INTRO # THEORY BASICS # STUDIO PRACTICIES and #FREE TOOLS TO CHECK<\/p>\n

#INTRO<\/h4>\n

For a long while I\u2019ve been \u201creading-all-the-tech-you-can-grab\u201c kind of guy, staying huge of the manuals especially – as apart from solely device-related stuff, you may learn lots of things not related to the piece of gear directly, and I do recommend you to follow this route as far as you can. Plain but true\u200a – \u200ahours invested in studying the manuals save you days & weeks of mistakes in the studio and tons of nerve\u200a – \u200asubject of mixing is huge and there is no other way to get it but via theory-practice combo (however much time you plan to allocate to practice).<\/p>\n

It may work out in sound design, you may copycat mic placement and tracking setups, but not in mixing. Even going \u201ctheory first\u201d way certain some things take lots of time to digest (you may be surprised how long it could be), but don\u2019t let those stop you\u200a – \u200agrab as much theory as you can and practice regularly, then come back reading and practice again. Mixing is a very complex formula taking lots of time to learn so be patient if learning this skill is important to you.<\/p>\n

Compression turned out to be one of the many mix-toughies to me, so I had to read through the hundreds and hundreds of pages and spend tons of time testing and tweaking dozens of commercial and freeware compressors (in addition to Live\u2019s native plugs) before I get the full picture ( I wish The Glue could have been introduced in earlier versions of Live\u200a – \u200athat would save me lots of time and effort, very capable and great sounding reincarnation of SSL-console bus compressor). So at the end of the day I decided to write down this overview to printscreen my experience and keep it for my students + it will help to cut some corners\u200a – so read on if I sparked you interest)<\/p>\n

As considered by the majority of studio engineers\u200a – EQUALIZATION and COMPRESSION are the most important mixing tools we have at our disposal, so again I do recommend you to invest all the effort you can making sure you got a good understanding of these techniques. Don\u2019t try to grab them all at once though – start with the basics and build your skills as you go (and make sure you checked my \u201cNOTES\u201d below)<\/p>\n

Let\u2019s re-cap some theory before getting far too techy\u2026<\/em><\/center><\/p>\n

#THEORY BASICS:<\/h4>\n

Wiki delivers some very good explanations, so why don\u2019t we start from there?<\/p>\n

Dynamic range compression (DRC or simply \u201ccompression\u201d) is a signal processing operation that reduces the volume of loud sounds or amplifies quiet sounds by narrowing or compressing an audio signal\u2019s dynamic range.<\/strong> Audio compression reduces loud sounds above a certain threshold while leaving quiet sounds unaffected.<\/p><\/blockquote>\n

Universal Audio, one of the gurus, adds:<\/p>\n

\u201cThe use of compressors can make recordings and live mixes sound more polished by controlling maximum levels and maintaining higher average loudness. Additionally, many compressors\u200a\u2014\u200aboth hardware and software\u200a\u2014\u200awill have a signature sound that can be used to inject wonderful coloration and tone into otherwise lifeless tracks. Alternately, over-compressing your music can really squeeze the life out of it.<\/strong> For those who are unfamiliar with compressors, having a good grasp of the basics will go a long way toward understanding how compression works\u2026\u201d<\/p><\/blockquote>\n

A variety of compressor types\/designs have been developed through the years to handle for different tasks with some sound far better in certain situations than the others, with an army of more and more sophisticated units popping up regularly on top of that, so I suggest to start with grouping them by:<\/p>\n

FUNCTION<\/h5>\n

Depending on the design, compressors can perform (but not limited to):<\/p>\n

Downward compression<\/strong> (reduces loud sounds over a certain threshold while quiet sounds remain unaffected) and Upward compression<\/strong> (increases the loudness of sounds below a certain threshold while leaving louder sounds unaffected, both downward and upward compression reduce the dynamic range of a signal)<\/p>\n

Expansion<\/strong> (the opposite function, increasing the dynamic range of the audio signal, expanders are generally used to make quiet sounds even quieter by reducing the level of an audio signal that falls below a set threshold level), Noise Gates being a great example.<\/p>\n

DESIGN<\/h5>\n

The signal entering a compressor is split, one copy sent to a variable-gain amplifier and the other to a side-chain where a circuit controlled by the signal level applies the required gain to an amplifier stage. This design, known as a \u201cfeed-forward\u201d type, is used today in most compressors. Earlier designs were based on a \u201cfeedback\u201d layout where the signal feeding the control circuit was taken after the amplifier.<\/p>\n

\"ableton
\nLive 8 Compressor emulated both FB and FF designs, more on that in \u201cStudio Practices\u201d<\/center><\/p>\n
CLASS<\/h5>\n

Can\u2019t stand quoting Barry Rudolph\u2019s fantastic \u201cUnderstanding Audio Compressors and Audio Compression\u201d study here:<\/p>\n

\u201cMost full-featured modern compressors can be set to emulate three CLASSES of compressors: regular compressors, peak limiters and leveling amplifiers that differ primarily in attack, release, ratio and threshold settings\u201d<\/p><\/blockquote>\n

REGULAR COMPRESSORS<\/strong><\/p>\n

Though there are no rules and many exceptions, for most music recording engineers tend to use a regular compressor with medium attack and release settings. Most of the time the engineer is looking for a modicum of level control with higher average loudness and some peak protection\u200a\u2014\u200aand dbx 160SL Compressor does this job nicely.<\/p>\n

PEAK LIMITERS<\/strong><\/p>\n

A peak limiter is a compressor with a very fast attack time, medium to fast release time, a high ratio and a high threshold. The task for a peak limiter is to stop or control only the very quick, sudden peak levels that will overload the succeeding audio stage. Manley makes a unit called the Slam that combines a compressor and a peak limiter all in one box.<\/p>\n

LEVELING AMPLIFIERS<\/strong><\/p>\n

The leveling amplifier is a compressor with a medium attack time, a medium to slow release time, a high ratio and a low threshold. The Universal Audio LA 2A Classic Leveling Amplifier is the classic tube leveling amp.<\/p>\n

TYPE<\/h5>\n

More quotes from the Pro\u2019s (Barry Rudolph again):<\/p>\n

VCA COMPRESSORS<\/strong><\/p>\n

\u201cVCA are the most versatile of all and so are the greatest in number. The VCA can quickly change gain in response to many different detectors looking at the same signal. VCA compressors are for the really tough cases where you want strict control over level and dynamics. However, they can be as gentle as any other compressor or anywhere in between. I like a good VCA compressor on vocals, drums, guitars, synths, bass, mix\u200a\u2014\u200abasically anytime I need a compressor.\u201d<\/p><\/blockquote>\n

\"dbx<\/center><\/p>\n

OPTO COMPRESSORS<\/strong><\/p>\n

\u201cOpto, meaning optical, describes the light sensitive circuits that control the compression amount in opto compressors. They often react more slowly than other compressor types, but this can be desirable. The famed Teletronix LA2A is an optical compressor that many producers swear by for vocals and mix bus compression. The LA2A is also a \u2018leveling amplifier\u2019\u200a\u2014\u200awhich means it is working nearly all the time, not just when a threshold is reached. These compressors offer simple, natural sounding control (unless pressed hard)\u201d.<\/strong><\/p><\/blockquote>\n

\"Teletronix<\/center><\/p>\n

FET COMPRESSORS<\/strong><\/p>\n

\u201cFET compressors are extremely fast, clean and reliable. I like to use these on vocals where a good amount of compression sounds good or better than the same amount with another unit, and on drums for room mics or individual drum mics. Universal Audio\u2019s 1176LN Solid State Peak Limiting Amplifier and LA Audio\u2019s Classic II Dual Compressor\/Limiter are examples of FET-based compressors\u201d.<\/p><\/blockquote>\n

\"Universal<\/center><\/p>\n

Valve Compressors work in one of the three ways described above, but use valves in the amplifier circuit to get that \u2018creamy\u2019 sound. The LA2A, which is an opto compressor\/leveling amplifier, uses valves.<\/p>\n

VARI-GAIN COMPRESSORS<\/strong><\/p>\n

\u201cVariable Gain compressors include all units that incorporate discrete circuitry other than VCAs, FETs or opto-isolators. I put the Manley Labs\u2019 Variable-Mu tube unit in this category, and I like using these types for vocals, drums and stereo mix.\u201d<\/p><\/blockquote>\n

\"Manley<\/center><\/p>\n
DIGITAL COMPRESSORS<\/h5>\n

Compressors we use in our DAWs could be either replicas of the existing units or their improved\/modified\/simplified versions or sophisticated multifunctional hybrids delivering options unparalleled in hardware. These are the tools you will be using daily converting your theoretical knowledge into one of the following techniques:<\/p>\n