Stereo Bus Compression

TacosWhenTwisted · 15th January 2009

I make dance music. House and Techno. Ever since ive discovered master/stereo bus compression it has alleviated a lot of headaches while mixing tracks. I have more room to work with as far as how loud I can make an individual sound without having to worry about the entire mix clipping. But I think there is a point where too much stereo bus compression is a mistake and you have to start dialing back on some tracks and increase the threshold of the master bus compressor. What is that point and how do you know you have hit it. What do mastering houses like to see and what do they want to avoid getting in their hands when you hand them your mix. Can that be determined by looking at an export of a mix in wavelab.

Next question is I use Waves API 2500 at the moment on the stereo bus, it does nice things as far as letting mix more effeciently. But one thing i noticed that it does is make the kick drum .wav thinner albeit louder. Like if the kick sound im using is theoretically 40ms in length, it'll reduce the length of the kick down to 30ms or so once I've bounced to audio, however when I increase the release as much as possible this is less of a problem, but its still there. Why does stereo bus compressor like Wavse API2500 thin out the kick so much.

Doc Mixwell · 15th January 2009

Quote:

Originally Posted by TacosWhenTwisted

Why does stereo bus compressor like Wavse API2500 thin out the kick so much.

Just back off the compression as your low end signals are modulating the compressor to react. You might want to think about letting your Mastering Engineer answer these questions, in regard to your program material. I would advise no more than 1-3 DB of GR on the master buss with a digital compressor. I have not been able to make one digital compressor sound good with more than that amount of reduction. I am going to go out on a limb and say your mastering engineer more than likely has WAY better compressor's than what you are using, so let him mess with that. That's what he gets the big dough for.

TacosWhenTwisted · 15th January 2009

Quote:

Originally Posted by Roc Mixwell

Just back off the compression as your low end signals are modulating the compressor to react. You might want to think about letting your Mastering Engineer answer these questions, in regard to your program material. I would advise no more than 1-3 DB of GR on the master buss with a digital compressor. I have not been able to make one digital compressor sound good with more than that amount of reduction. I am going to go out on a limb and say your mastering engineer more than likely has WAY better compressor's than what you are using, so let him mess with that. That's what he gets the big dough for.

Unfortunately, I dont have the sweet luxury of a mastering engineer while im tracking and mixing down my mix. Ok lets say I only stay within 1-3DB threshold what about ratio wise? What about gain wise, what are good limits? Also since the kick are modulating the compressor the most, what if i lowered my kick some and added more gain to the overall track? What would that achieve and how would the bus compressor react?

audiovisceral · 15th January 2009

4:1 is a pretty good start for mixbus.

also, if you're doing dance, a lot of guys use the kick to sidechain the mix comp and make the song pump. extreme eg. daft punk one more time with a cheapo alesis 3630 i believe.

helps keep the kick isolated/strong.

also i know it's not popular to say, but like roc suggested, an analog mix comp will often take more pressure before starting to 'damage' the sound.

but work with what you got of course.

ONDRAY · 15th January 2009

^^ good suggestion on sidechaining the kik to the 2-bus compressor. I find this works sometimes, but would rather sidechain the bass, sweeps and other thins to the kick in the mix. I find that using a low ratio 2:1 and only reducing around -2db works well, with a fast release. If things are clipping with this setup you should fix the clipping instrument in the mix. But then again, there are no rules, whatever sounds GOOD.

TacosWhenTwisted · 15th January 2009

Ok advice taken. How do you setup a side chain using a mix bus compressor? Can it be done with Waves plugin? If not in software, how can I do it the hardware route because my next purchase is indeed a hardware compressor or UAD stuff.

ONDRAY · 15th January 2009

Quote:

Originally Posted by TacosWhenTwisted

Ok advice taken. How do you setup a side chain using a mix bus compressor? Can it be done with Waves plugin? If not in software, how can I do it the hardware route because my next purchase is indeed a hardware compressor or UAD stuff.

Take an Aux send pre fader out of your kick channel, into your sidechain of your compressor that's straped on your mix bus. What DAW.

TacosWhenTwisted · 15th January 2009

Thanks.

15th January 2009	#1
TacosWhenTwisted Gear addict Joined: Jan 2009 Location: Los Angeles Posts: 419 Thread Starter	Stereo Bus Compression I make dance music. House and Techno. Ever since ive discovered master/stereo bus compression it has alleviated a lot of headaches while mixing tracks. I have more room to work with as far as how loud I can make an individual sound without having to worry about the entire mix clipping. But I think there is a point where too much stereo bus compression is a mistake and you have to start dialing back on some tracks and increase the threshold of the master bus compressor. What is that point and how do you know you have hit it. What do mastering houses like to see and what do they want to avoid getting in their hands when you hand them your mix. Can that be determined by looking at an export of a mix in wavelab. Next question is I use Waves API 2500 at the moment on the stereo bus, it does nice things as far as letting mix more effeciently. But one thing i noticed that it does is make the kick drum .wav thinner albeit louder. Like if the kick sound im using is theoretically 40ms in length, it'll reduce the length of the kick down to 30ms or so once I've bounced to audio, however when I increase the release as much as possible this is less of a problem, but its still there. Why does stereo bus compressor like Wavse API2500 thin out the kick so much.

15th January 2009	#5
ONDRAY Lives for gear Joined: Jun 2004 Location: Toronto Posts: 737	^^ good suggestion on sidechaining the kik to the 2-bus compressor. I find this works sometimes, but would rather sidechain the bass, sweeps and other thins to the kick in the mix. I find that using a low ratio 2:1 and only reducing around -2db works well, with a fast release. If things are clipping with this setup you should fix the clipping instrument in the mix. But then again, there are no rules, whatever sounds GOOD. __________________ ____________________________ Minus3Audio.com

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15th January 2009	#4
audiovisceral Lives for gear Joined: Apr 2006 Posts: 1,546	4:1 is a pretty good start for mixbus. also, if you're doing dance, a lot of guys use the kick to sidechain the mix comp and make the song pump. extreme eg. daft punk one more time with a cheapo alesis 3630 i believe. helps keep the kick isolated/strong. also i know it's not popular to say, but like roc suggested, an analog mix comp will often take more pressure before starting to 'damage' the sound. but work with what you got of course.