So, Mix Bus Compression, Making the most of that SSL COMP?

[Beastie]

So, Mix Bus Compression, Making the most of that SSL COMP?

The Goal - PUNCHY, BOUNCY Pop Sound...

Ratio Set 2:1, Attack .6ms, Release 1/8th note now what about THRESHOLD?

If i set too much, it swallows the record, if i do too little its not bouncing quite right - but what is a good amount - any starting places?

i used to leave it on 12-15db but recently bought it down to 10 and its pumped at lot more but is 4/5db on the mix bus too much?

Any thoughts opinions - i know you have them!

Need some sort of reassurance here that i am using the right approach as to an actual hard and fast answer!

CHEERS

[seaneldon]

There really isn't a "starting point" for threshold -- this all depends on a LOT of things...the average vs. peak levels of the mix, how much (or how little) the individual elements in the mix are already being compressed.

Set up/frame the basic mix INTO the compressor rather than strapping it on after the fact.

I like SSL comps a lot more with slower attack times, 10 or 30ms. 30ms if the snare and vocal are already quite compressed, 10ms if they're mostly dry/automated in level. Auto release works more often than not.

Creatively speaking, you can compress the mix buss as much or as little as you want -- but try not to paint yourself (or your mastering engineer) into a corner. A couple dB of compression goes a long way, and the G comps are working a bit before the gain reduction needle is moving much at all.

[Beastie]

Oh ok kool thanks man

Will have a go at the slower attack vibe....

The problem i have is the metering, the console im using is a SSL C200HD with a G COMP digi clone.... sounds great but not sure where i am with it some of the time....

Much Appreciated

[PaulOcchialini]

Originally Posted by Beastie

i used to leave it on 12-15db but recently bought it down to 10 and its pumped at lot more but is 4/5db on the mix bus too much?

Any thoughts opinions - i know you have them!

Omg, does someone like compression? My advice to you is take that off your 2 buss. Get your mixes to sound right without it. Then reintroduce the idea of 2 buss compression. Start with only compressing a db or two. I'm not saying 4/5 db is wrong, I know guys who work like that. But maybe you need a better handle of getting the sound you want without it.

[Beastie]

Originally Posted by PaulOcchialini

Omg, does someone like compression? My advice to you is take that off your 2 buss. Get your mixes to sound right without it. Then reintroduce the idea of 2 buss compression. Start with only compressing a db or two. I'm not saying 4/5 db is wrong, I know guys who work like that. But maybe you need a better handle of getting the sound you want without it.

No im fine with it on thanks

[PaulOcchialini]

Originally Posted by Beastie

No im fine with it on thanks

Ok, you asked

[Beastie]

Originally Posted by seaneldon

There really isn't a "starting point" for threshold -- this all depends on a LOT of things...the average vs. peak levels of the mix, how much (or how little) the individual elements in the mix are already being compressed.

Set up/frame the basic mix INTO the compressor rather than strapping it on after the fact.

I like SSL comps a lot more with slower attack times, 10 or 30ms. 30ms if the snare and vocal are already quite compressed, 10ms if they're mostly dry/automated in level. Auto release works more often than not.

Creatively speaking, you can compress the mix buss as much or as little as you want -- but try not to paint yourself (or your mastering engineer) into a corner. A couple dB of compression goes a long way, and the G comps are working a bit before the gain reduction needle is moving much at all.

Slower attack not doing it for me in this case, backed off the threshold a bit and feels a bit better

[Beastie]

Originally Posted by PaulOcchialini

Ok, you asked

I did and i am grateful for your reply

In fact just took it off and stripped back a bit sounds very punchy!

[Beastie]

then its back on again - arrggghhhh!

[kosmokrator]

Originally Posted by seaneldon

There really isn't a "starting point" for threshold -- this all depends on a LOT of things...the average vs. peak levels of the mix, how much (or how little) the individual elements in the mix are already being compressed.

Set up/frame the basic mix INTO the compressor rather than strapping it on after the fact.

I like SSL comps a lot more with slower attack times, 10 or 30ms. 30ms if the snare and vocal are already quite compressed, 10ms if they're mostly dry/automated in level. Auto release works more often than not.

Creatively speaking, you can compress the mix buss as much or as little as you want -- but try not to paint yourself (or your mastering engineer) into a corner. A couple dB of compression goes a long way, and the G comps are working a bit before the gain reduction needle is moving much at all.

+1 on the 30ms attack for already compressed stuff. Auto-release most of the time.

I tend to like 4:1 best.

[Space Station]

I use 2:1 never really anything else (4:1 sounds totally different)...rarely use auto-release. Never above -4db..generally -2-3db gr.

No-one will be able to tell you the actual threshold setting.

[The Beatsmith]

For me (x-rack bus comp) it's usually:

3:1, 30ms attack and either 0.1ms or auto release - usually 0.1 if i want to hear it working

max of 4db of GR

[Young&PostModern]

Going more than 1-2gr I have found to be dangerous. Remember, the mastering engineer has got to do something too.

The bus comp, to me, is just some glue to make it all gel. The mix should already be hopping before the bus comp is even on there. You could try razing your ratio. Try 10:1 with 0.5 - 2 db gr. Try hitting it as little as you can.

Compression should make things sound closer, not pushed back.

[Musiclab]

As far as the threshold goes, it really depends on how hard you want to hit it.
It also depends on your console. For instance, my console's 2 buss hits SSL 384 so hard that I leave the threshold all the way open. As far as attack I tend to like it a little quicker, either 10 ms or 3, but mainly 10. The other thing that is important is to mix into the compressor, make sure it's on from very early in the mix.

[Karloff70]

2:1, attack either wide open or almost, release either shortest or auto, and then put the thing over the groove quite tight. Notice I say 'groove' not drums....meaning the corners, say kick, sd/claps, hh (maybe all drums maybe not...) and you might put a parallel of the bass in there too for them all to breathe off each other, but have the bass outside too.....don't put the thing over the whole record. It;s best as a 'groove=rubber=band' pulling it quite tight I reckon. Put your Focusrite Red over the mix instead and just touch it a wee bit but imparting that 'pop-sheen thing' and a wee bit of glue....= punch and groove interaction from the SSL and still a record that can breathe outside it.....

[Beastie]

Originally Posted by Musiclab

As far as the threshold goes, it really depends on how hard you want to hit it.
It also depends on your console. For instance, my console's 2 buss hits SSL 384 so hard that I leave the threshold all the way open. As far as attack I tend to like it a little quicker, either 10 ms or 3, but mainly 10. The other thing that is important is to mix into the compressor, make sure it's on from very early in the mix.

yeah the c200hd seems to hit quite hard so i have been leaving the threshold all the way off but it sounds kind punchy and cool down to 10 on threshold sometimes but it feels like i might be driving a bit hard.....?

maybe just leave it at 15 and mix into like you say - just gotta be careful to remain in the bouncy zone! lol

saying that i swapped it for a red3 and that might just do the job for this mix...... we shall see.....

THANK YOU

[Beastie]

Originally Posted by Karloff70

2:1, attack either wide open or almost, release either shortest or auto, and then put the thing over the groove quite tight. Notice I say 'groove' not drums....meaning the corners, say kick, sd/claps, hh (maybe all drums maybe not...) and you might put a parallel of the bass in there too for them all to breathe off each other, but have the bass outside too.....don't put the thing over the whole record. It;s best as a 'groove=rubber=band' pulling it quite tight I reckon. Put your Focusrite Red over the mix instead and just touch it a wee bit but imparting that 'pop-sheen thing' and a wee bit of glue....= punch and groove interaction from the SSL and still a record that can breathe outside it.....

very tastefully put that man!

i was liking the 1/8note release for the groove and playing with 16 32note for attack but perhaps i got that vibe wrong

red 3 is on at the mo coz it was giving me more sheen as i have comp on separate tracks quite full on esp on drums "in a groove way"

plus i cant assign the c200 bus comp anywhere apart from across the mix :/

but i have distressors and fatso for that job

[Beastie]

Originally Posted by Young&PostModern

Going more than 1-2gr I have found to be dangerous. Remember, the mastering engineer has got to do something too.

Compression should make things sound closer, not pushed back.

yeah agreed!

[Karloff70]

Originally Posted by Beastie

plus i cant assign the c200 bus comp anywhere apart from across the mix :/

Jim, Jiiiiim, why not Jim....? Why not assignable...? Jim?

That's no fun .......then get a slice of grey 384 for rubberbanding the groove.....

[Beastie]

Originally Posted by Karloff70

Jim, Jiiiiim, why not Jim....? Why not assignable...? Jim?

That's no fun .......then get a slice of grey 384 for rubberbanding the groove.....

get get get - cant keep getting!

red3 and bus comp should do the job for now my man

although im more inclined to go with red3 right now!

[Karloff70]

You sure the internal C200 one doesn't assign to buses.......? Seems silly if it didn't.....Jim?

[TapeOpAl]

Well it's only assigned to the quad bus on a 4000 series but it appears on the patchbay so you can put it anywhere you like. Is that not the case with the c200?

[Beastie]

Originally Posted by TapeOpAl

Well it's only assigned to the quad bus on a 4000 series but it appears on the patchbay so you can put it anywhere you like. Is that not the case with the c200?

apparently not as i asked SSL and they said no :/

[Karloff70]

Originally Posted by Beastie

apparently not as i asked SSL and they said no :/

Tell Jim you want your money back.

[Beastie]

Originally Posted by Karloff70

Tell Jim you want your money back.

HA!

[Beastie]

Dont use the comp as a brickwall!

red 3 with headroom sounding awesome.....

however g cmp also good with headroom!

Happy life again

plus liking the slower attack angle more bouncy when grooved right

THANKS EVERYONE - all input useful and helpful - be lost without you

[Karloff70]

Originally Posted by Beastie

Dont use the comp as a brickwall!

red 3 with headroom sounding awesome.....

however g cmp also good with headroom!

Happy life again

plus liking the slower attack angle more bouncy when grooved right

THANKS EVERYONE - all input useful and helpful - be lost without you

Maybe turn it around and tightly rubberband the groove with wide open attack Red and just lick the mix with the built in SSL....you know you want to....or you'll keep wondering what it does......now that I mentioned it.......

[Beastie]

Originally Posted by Karloff70

Maybe turn it around and tightly rubberband the groove with wide open attack Red and just lick the mix with the built in SSL....you know you want to....or you'll keep wondering what it does......now that I mentioned it.......

cant change the order of the mix insert and built in comp

buit in comp first mix insert after.....

[Karloff70]

Originally Posted by Beastie

cant change the order of the mix insert and built in comp

buit in comp first mix insert after.....

You misunderstand. Use the SSL comp where it is, i.e. on the whole mix. It is hard wired on the mix bus, or am I misunderstanding?

Put the Red on a group with your groove in it........pull it tight with the attack open and release shut.........

[Doc Mixwell]

***Adam's version of making the most of an SSL comp***

Un patching it