Originally Posted by robot gigante
What bus compressor are you using, ubik?
What I find with the C2 and other bus comps is that oftentimes the amount of compression you are describing is what sounds right at 1:5:1 or 4:1... just a titch of gain reduction when the kick/bass hits- ratios that are higher than that doesn't seem to work so well for me even if there isn't a ton of gain reduction on the meters.
Although I will sometimes also have mixes where I do compress two or three db as well.
That's because of the amount of compression you have before the stereo buss.
This brings us back to Brauer's multi-buss and how to know when you're doing it right or understanding the goal of it in the first place.
I don't rememebr when he started using his ADL 670, but it was relatively recent. He was treaking his for buss subgroups as for stereo bus compressors - as if the drums and bass were mixed on one console, guitars on another vocals on a third etc., and then summed the output of the consoles (imagine - drums on a Neve, guitars on an API and vocals on somehting clean like a 9098i!).
So, by the time his tracks are hitting the stereo buss the dynamics are under control - not limited, but the range is narrowed to an appropriate level for the stlye of the song. That means it would be very easy to use 10:1 or even high and just let some peaks touch it. I'm pretty sure he's got the ADL in a fast attack position, like the way some mastering engineers use the ES-8 (or Brauer does on his guitar buss).
I'm pretty sure that he had no compressor across the stereo mix for the first Coldplay albums and the others he was doing around that time. He did have lots of stereo bus compression before it.
So, I'm not commenting on your mixes, but based on what you describe, you might want to consider more or different compression before you hit the stereo buss which will probably give you more options for how to set the stereo buss compressor.
I've been experimenting with having the stereo buss compressor triggered not by the music passing through it, but by a trigger track, like the kick track for a variety of effects, but it means controling your dynamics earlier.