Question about mixing using outboard gear

[Matt Grondin]

Hi, this question is probably going to seem stupid, but I'm fairly new to mixing and I'm confused about something... for example, say you wanted to do a drum sub with compression... I've just been sending the drums out a subgroup>compressor>back into the console on a pair of faders and blending that back in... makes sense. However, for something like bass or vocals where you're mainly controlling levels and adding some "smoothness" to the sound, would you run straight into a compressor from Pro Tools or your tape machine, and then into the console, or would you use an FX return? Obviously you'd do that with something like verb, but would you do that same thing with compression? Thanks.


Oh yeah, and why would I want to start using 2-buss compression when the mastering engineer is probably going to add compression too? That just seems like overkill to me, but I don't have much experience with it.

[Drumsound]

If you want to "control" the dynamics a bit with a compressor and not use a parallel you should use the console Insert (send/return) or possible the out of the deck/computer and the run the comp output to the line-in.

Compression will change relative levels. If you ix with a 2-mix compressor, your levels will be representative of what you want them to be before the ME gets the material. The ME should be a fairly invisible, yet integral part of the sound. He/she should not 'transform' 'make' the record. He/she should 'bring it home.'

[NathanEldred]

Originally Posted by Drumsound

The ME should be a fairly invisible, yet integral part of the sound. He/she should not 'transform' 'make' the record. He/she should 'bring it home.'

thumbsup thumbsup

[thethrillfactor]

Originally Posted by dobby12

However, for something like bass or vocals where you're mainly controlling levels and adding some "smoothness" to the sound, would you run straight into a compressor from Pro Tools or your tape machine, and then into the console, or would you use an FX return?

Yes to the first...no to the second.

I never use inserts on the console.

Prefer the shortest path and most direct path possible.

Also certain gear loads better when its chained together than when its loaded from the console.

[u b k]

Originally Posted by dobby12

why would I want to start using 2-buss compression when the mastering engineer is probably going to add compression too? That just seems like overkill to me, but I don't have much experience with it.

there are, as you might have guessed, numerous schools of thought on this subject. the two primary ones go something like this:

1) save 2buss compression for the ME. he has the room, the ears, the objectivity, and the gear to make the choices more sensitively.

2) 2buss compression changes the balances in a mix, the mix engineer's job is to create the balances, so mix into the compressor to make sure things sit where you want them.

a variant on number 2 is to make sure the ME does not do any compression, only limiting.

me, i find mixing into a compressor to be a very rewarding experience, it enables me to push faders and create drama in a way that i couldn't do without the comp patched in. it also creates an interaction among the various elements that causes the whole song to move and flow as one singular, organic entity.

one of the millions of things you get to explore is whether you work better with or without. there's no truth, these are just tools. do what you gotta do to build the picture you gotta build.


gregoire
del ubik

[Matt Grondin]

Ok, thanks for the replies, and sorry to bring up the 2-buss thing again... I know there are many threads on that subject, but I figured I'd ask my question anyway. I appreciate it. Later.

[StephenMarsh]

If you generally mix with buss compression - I receommend printing two mixes for mastering - one with and one without - then your covered wither way. Simple solution.

--Steph

--------------------------
Stephen Marsh
Chief Mastering Engineer
www.thresholdsound.com
--------------------------