Why compress during mastering? Create a new audio track in your DAW and drop CM205 Track.wav onto the channel. How to manage sound settings from the taskbar. Therefore, whichever way you choose to go, I recommend that you master with all processes inline. Less Is More. You don't really do parallel compression on the 2 bus so keep it at 100%. The ratio determines how much the audio is reduced in volume by the compressor. That’s it for this entry — in the next post, let’s talk about limiting. (Expansion is the opposite of compression; by lowering the level of soft signals, it increases rather than decreases dynamic range. Keep asking yourself after every move: “Am I making the music sound better?”. When you get them right, your compressor works almost invisibly, but when those settings are too fast or too slow for the music, compression becomes obvious and intrusive. If you’ve missed an entry, click on any topic below to catch up: In this entry, let’s take a look at compression. How much dynamic range you opt to preserve is largely a judgement call based on your taste and the genre of the music. Analog circuitry also tends to add random anomalies that lead us to believe that we are hearing an improvement over the original signal. You may find this content helpful: To be able to view it. The key with master buss compression is to mix into it. Not all compression plugins are able to handle the large amount of sonic information contained within a mix. Most mastering engineers use high thresholds and low ratios (typically 1.25:1 or 1.5:1 – rarely anything more than 2:1) in order to achieve just 1 or 2 dB of gain reduction. It’s a great way to add punch to your mix as well as a sense of overall control. Compressors designed to cope with mixes are often called buss compressors since they are usually inserted across a stereo buss, as opposed to a single channel. The idea is to feel rather than hear any compression being applied.Engineer Yoad Nevo says, “I hardly use compression in mastering, and if I do, it’s more in terms of coloring the picture rather than trying to change the internal dynamics.” While the application of compression during mastering can help enhance a mix in some circumstances, it’s also important to remember that a recording with a relatively broad dynamic range feels musical and exciting, whereas one with minimal dynamics feels tight and fatiguing. Most mastering engineers use high thresholds and low ratios (typically 1.25:1 or 1.5:1 – rarely anything more than 2:1) in order to achieve just 1 or 2 dB of gain reduction. The end result is that everything sounds not only louder and punchier but more even overall. 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For example, be sure to set the same (or at least similar) ratio in all the bands being affected or you run the risk of adding an imbalance to the sound. Set your threshold pretty high so that you’re getting 2 dB of gain reduction at most. With mastering, the number-one rule is to avoid over-processing. Over-processing with a multi-band compressor can easily skew the frequency and phase relationships of your master. Below, let’s identify multi-band compression’s pros and cons. The sweet spot occurs when the release time complements the attack time. That said, in this article we’re going to specifically focus on compression within the context of mastering and how we can use it to enhance our D.I.Y. This video shows how to use the A/B function in Waves plugins: Hopefully these tips have given you a better understanding of how to apply compression during mastering. | A compressor’s parameters and main uses in music production. This article will help you learn what compression does, how to choose the perfect compressor settings, and some common pitfalls to avoid. The pros: The flexibility to treat isolated areas of the frequency spectrum Using effective metering will help you identify the dynamic range of your master. For more mastering tips, check out this article on how to EQ effectively during mastering. Perhaps most importantly, compression can act as the “glue” that ties all the sonic elements together into a cohesive whole. These two controls are so important that we’re going to devote an entire tip to them – see #5 below.Soft vs. Hard Knee: A knee setting specifies the smoothness of the transition from no compression to full compression once the threshold is passed. articles out there on compression that discuss what it is and what it isn’t, What is compression? Depending upon the tempo, typical mastering compressor release times might range from 300 to 800 ms or more.As you can see, there are no attack and release values that are ideal for every track. When is it best to cascade your compressors? By making them softer (a process called gain reduction), it reduces the overall dynamic range – that is, the difference between the loudest and quietest sections of a song.You’ll find pretty much the same set of controls in every compressor plugin.Threshold and Ratio: Threshold determines when compression begins, while ratio specifies how much gain reduction is applied. )Because it is more inconspicuous and subtle than traditional compression, multiband compression can be a powerful mastering tool, used for everything from taming overly loud cymbal crashes to tightening up the low end without affecting the rest of the track. Just by looking at the waveform, you should able to tell whether there are lots of peaks in the track; if not, you probably don’t need to add any compression. Those designed for a single instrument or group of instruments may struggle when used for mastering purposes – they may color the sound in undesirable ways or even produce distortion when driven hard. It inevitably adds a little bit of ringing, noise, and distortion. The first number tells us by what factor the level will be reduced. So if your ratio is set to 3:1, the output will be 3 times quieter. More specifically, it reduces the difference between the loudest and softest parts of your mix, resulting in a track with less dynamics and movement. These two controls are highly interactive.
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