Program Levels in Jazz/Free Jazz. How to raise them?

[Garrett Openshaw]

So I've been doing a lot of jazz and free jazz recordings at my school. The biggest problem I'm having right now is getting the program level high enough because the dynamic range is so large (especially the free jazz).

How do you raise your program levels and still keep dynamics in the recording? I have been using an rcomp with the threshold around -8 or -10 with a 1.3-2 ratio with 30 ms attack and a 200 ms release or so. Then I add an L1 at -2. This type of compression/limiting has worked well for some recording and very poorly for others.

What do you fellow gearslutz do to keep the program level high for a commercial jazz/crossover CD, while keeping the dynamics?

thanks!

[Ozpeter]

The only way to keep the dynamics while raising the level is to normalise. If you use any form of compressor or limiter then you are, by definition, squashing the dynamics.

If the music has relatively rare abnormal peaks you may find that a hard limiter will be less obvious in operation than a more gradual form of compression. A hard limiter only operates on peaks that you set it to clamp, and will have no effect on the rest. But if it's limiting all the time, then it's probably the wrong tool. The humble "Classic Master Limiter" vst is actually very good at the task and couldn't be easier to use.

[chris319]

I had a similar problem recently. You could allow some of the very briefest transients to actually clip. Try it, listen, and see if the clips are objectionable.

[Rick Sutton]

You will have to give up a little of the dynamic range. One way to pull up the average level and still maintain a dynamic feel is to use parallel compression.

[leddy]

You could automate some fader movements and do it manually. Time consuming, but probably the most effective at preserving as much of the intended dynamic range as you can without any nasty compressor artifacts.

[NorseHorse]

Head over to Acoustik Musik Ltd: Located in Oberlin, OH to see Thomas W. Bethe.

[Roland]

Riding faders will help, as will gentle compression, sensibly done it will not be that noticeable. A good digital limiter on the mastering will also raise the level with little or no percievable penalty if used carefully.

Also reading from the above, I would experiment a little with your compressor settings, faster tunes with shorter playing will require quicker release times than say slower more "ballad" like playing, there are no really hard and fast rules. Do be careful with with threashold settings, these are every bit as important as ratio's and attack/release settings as often they effect "knee" response, again depending on the material and the compressor you are using.

Regards


Roland

[JoeDeF]

I agree that a limiter, judiciously used, can be pretty transparent.

However, if you must compress, give Paul Frindle's DSM a try - , it is the most natural I have heard, as it bases its threshold on a captured spectrum of your music. It is one of the few that I would trust with jazz, free jazz, and classical music. Here's a thread with lots of info:

http://www.gearslutz.com/board/new-product-alert/188044-paul-frindle-new-company-new-plugin.htm

There is a free demo available, so you have nothing to lose. Because DSM doesn't act like a typical compressor, it can be hard to grasp at first. Check out some of the video demonstrations that Paul hosts on the web - they're pretty amazing. Here's where the videos are (numbers one and three would be most applicable to your situation):

Dynamic Spectrum Mapper introduction on Vimeo

Joe

P. S. - standard disclaimer - I have no affiliation with the company; just a happy customer....