sorry man i didn't want to be rude.

 

thing is with putting a compressor on the master in the beginning is that as the song is building up it's getting louder and the compressor will react completely different, so you might just wait and drop it/activate it later and change parameters. it's guaranteed that you will change the settings as the song progresses. i usually drop in a mixtool/gain plugin there in the first slot and dial it back a good -6 -10db so i have headroom for the compressor to work. i always do the mistake to start mixing during tracking. i learned thats a big no-no if you have paying customers.
also, someone mentioned the low ratio. thats mastering ratio 2:1. on the mixbus 4:1 is perfect. hardware guys many times use la2a or 1176 i know it sounds strange. la2a(even plugin) can do wonders on the mixbuss . for electronic music, a multiband one is really nice, pumping away

anyway , happy compressing





this is good :

 

Last edited by a moderator: Feb 8, 2019

Marsupilami
so do u use compression with out make up ?

drums are 4:1 too or ?

 

I do that mix though comp since years now. Never changed those exact settings =>



... which is a capture of the R3 replacing the stereo comp of a very-well-know SSL 4K, responsible of tons of hit records.

Works amazingly well. The R3 p-i from the Focusrite Red Plugin Suite works nicely well too.

 

Last edited: Feb 9, 2019

Okay. I am extremely sold on this technique.

Although, this isn't anything new, the SoundonSound magazine has covered it before, numerous mixing engineers do it, I went on and used the Distressor compressor (MJUC does not have side-chain feature), and holly-christ! I definitely started having a more balanced track, dynamics wise.

To further test the technique, I used the gain-staging K&B into a VU-metter to hit 0dbvu, and re-activated the compressor, I still ended up with the same balance as before, with the difference that now, my entire mix has a tonal balance to it as a result of the mix-buss compression technique.

I also used the Elysia Mpressor and its bigger brother, but liked the sound of the Distressor more; though, if MJUC could EQ the lows off, I also like that sound.

What other 2-buss compressors do you guys recommend?

Links:

https://www.gearslutz.com/board/so-...to-compressors-what-kind-sound-does-give.html
https://www.soundonsound.com/techniques/sos-guide-mix-compression

https://www.gearslutz.com/board/so-...87-mixing-through-compressor-stereo-buss.html

 

You mean something like the SCF off-600(Hz)?

 

I mean, where is the side-chain filter?

 

Place mouse cursor over small white arrow between Timing and Mode and click on it.

Also see:
https://klanghelm.com/docs/MJUC-manual.pdf

 

Last edited: Feb 10, 2019

Lol. That's right! hahaha Thanks mate!

 

Never thought about this , superinteresting, i think about how to do it in S1, thank you.

http://thestudioonesoapbox.blogspot.com/2016/08/analogue-mixing-in-box-pt-3-split-that.html?m=1

 

@Retrolize77 - I think the optimum way to approach the "dual mono" technique for the master bus is to not actually use it on the master, but use it on a submix where you route all the parts that you would like to have extra stereo. All effects returns, reverbs, and wide pads for example. Done this way, you get the freedom to tune your dual mono compressors and other effects slightly different for the L and R mono version of each.

You retain a solid center this way. Almost like mixing with dual mono FX for wide stuff + normal stereolinked central image. The center (mix elements) in a good mix will not quite be fully mono, but close - and it will benefit from the "solidity" of stereolinked processing.

 

Last edited: Feb 10, 2019

This is extremely dependent on the genre.

Dual mono compression does shift the sound of your low-end a little to the left or right (sorta wiggle around); certainly not a thing you'd want with Electronic music of any-kind (to ensure mono-compatibility, and avoid phase-cancellation). I presume you'd be able to get away with this in other genres like Indie, Rock, Jazz, Blues or Acoustic, but as far as mono compatibility is concerned, when checked on correlation meter while dual-mono compression is engaged, it is visible that your mix is a little tilted to one side, and if you solo your kick drum, you'd also see the otherwise dead-center kick-drum is either moving around or is tilted a little to one side.

I use mid-side compression for this, just to both add more width to the track, and to keep the kick,snare, or mid instruments in check differently than the sides; i.e. sometimes you'd want to add a little more punch to the mid elements than the side elements, and you'd adjust the compressor settings accordingly. I use Elysia Alpha Compressor for that.

 

Believe me (him ) or not : CLA just doesn't care about mono-compatibility and only uses his master comp in dual mono mode.
Yep.... I was astonished too when I saw it.

One must say that his mixes stay killer to this day. In all genres.

 

Last edited: Feb 15, 2019

with your method there are pros and cons.It's good because each compressor reacts on specific audio material(drums,lyrics,guitar for example) but one compressor on the master track glues very well all different instruments.

 

Yep, that's at least easier to handle.

But I'm sure he takes care that the center (bd, sn, vocals) stays in the center.

That's why I use both methods. In channels and busses for sound in master for sound and loudness.

 

tdr's kotlenikov has the delta feature that you can hear what you are doing...wish other compressors had that

 

This is , if not exactly, top-down mixing approach.

Check out the following:

SoundonSound - Mike Senior.
Why You Should Care About Top Down Mixing
here's also Luca Pretolesi using the same top-down approach.

 

If I had enough money I would buy an analog summing mixer,this thing makes all the difference when you're producing in the box.