additive compression vs in-line compression in mixing

[Local 47]

Hello Tchad,
I'm not trying to figure out what comps you use where and on what. Rather I'd love to know when you use additive compression, and why?
I suppose vocals get regular in-line compression (channel insert). What about the rest: do you use compression, like with the SA, also in an additive way?
Thx.
Doug

[tchadb]

Originally Posted by Local 47

Hello Tchad,
I'm not trying to figure out what comps you use where and on what. Rather I'd love to know when you use additive compression, and why?
I suppose vocals get regular in-line compression (channel insert). What about the rest: do you use compression, like with the SA, also in an additive way?
Thx.
Doug

Distortion is almost always additive. Compression for effect is almost always additive especially OHs and mono kit because I love the way it interacts with the original signal, plus it retains the 'air'.
I do all the regular in line stuff everyone does as well.

[Local 47]

Thanx Tchad. Just one more question in the realm of this topic: how much do you rely on Multing sources?
Like for instance the snare, kick, bass, lead vocals.
eg snare: snare original, snare mult for attack, snare mult for decay, snare mult for tone etc...
Thx again. D.

[tchadb]

Originally Posted by Local 47

Thanx Tchad. Just one more question in the realm of this topic: how much do you rely on Multing sources?
Like for instance the snare, kick, bass, lead vocals.
eg snare: snare original, snare mult for attack, snare mult for decay, snare mult for tone etc...
Thx again. D.

Sounds complicated, never do that. Maybe one mult with EQ and/or compression/dist. for extra umph.

[kansascitydon]

not to beat a dead horse here, but what happens to the non-distorted/comp'd track? you said you use normal in-line compression on non-multed sounds, but in these multed sounds, how often does the "clean" track go uncompressed during the mix when it's coupled with a "distorted" version of itself?

The reason I ask is because i incorporated some of these ideas in an album i'm mixing which involved PT interfacing with a console, and outboard compressors. I used Lo-fi, or Antares tube (which for plug-in distortion, I've enjoyed quite a bit, btw) on the distorted copy of the main track, pulled it all the way down in PT, and then rode it up until it had a new energy (which it did!), but then I sent both "distorted" and "clean" to the same EQ/comp chain in the console/rack (partly due to limited PT outs). I didn't have a lot of time to screw around on these mixes with other options... or more to the point, I liked what I got, and stopped trying stuff, but I'm curious if you even compress at all on the "clean" channel.

[tchadb]

Originally Posted by kansascitydon

not to beat a dead horse here, but what happens to the non-distorted/comp'd track? you said you use normal in-line compression on non-multed sounds, but in these multed sounds, how often does the "clean" track go uncompressed during the mix when it's coupled with a "distorted" version of itself?

The reason I ask is because i incorporated some of these ideas in an album i'm mixing which involved PT interfacing with a console, and outboard compressors. I used Lo-fi, or Antares tube (which for plug-in distortion, I've enjoyed quite a bit, btw) on the distorted copy of the main track, pulled it all the way down in PT, and then rode it up until it had a new energy (which it did!), but then I sent both "distorted" and "clean" to the same EQ/comp chain in the console/rack (partly due to limited PT outs). I didn't have a lot of time to screw around on these mixes with other options... or more to the point, I liked what I got, and stopped trying stuff, but I'm curious if you even compress at all on the "clean" channel.

OHs= orig. track, no comp.; mult, heavy compression; both of these might then get compressed in the drum bus comp. with all the other drum tracks. Distortion= often, in line compression/noise reduction on the additive dist. channel. If it sounds good, you did the right thing.