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Old 2nd May 2003
  #11
Quote:
Originally posted by faeflora
Ahh sweet heavy compression! Nothing like automatic fader rides and in some instances automixing.

Smash that track into submission!

Hey speaking of multiband compression (I assume that is what you meant by freq specific compression thrill? or did you mean sidechain?), how's that tube tech mutiband unit?
Hey Fae,

The best person to ask about is Jon, he owns one and uses it regularly.

I've used the A version and I remember it having phase problems at some frequencies. I did hear that they've fixed some of the anomalies.

The compression I am referring to is a combination of both. When mixing vocals i tend to make the comp freq dependent by running and EQ into it(making the comp react or not react to the freqs its seeing) not on a side chain, but into it. Also the EQ is usually a colored unit with some kinda personality to make the vocal have a little "pizzaz"? Sometimes I will have multiple channels of different ranges of the vocals(with different dynamic combinations) and automate that. Sometimes its easier to fix the "hot spots" in the vocal this way(especially the mids). In the verse use one combo, in the chorus use another, on certain words go here.

When doing drums and bass I usually split the sounds into its acoustic envelope, treating each stage differently. This way i can build really humongous sounds with character and not overpower my mix. I then automate it and make it blend.

This way I am not overpowering the stereo mix comp and i can retain more of the clarity. Also I've been able to not have to start with the mix comp on the mix(which is normal) and add it later, and the levels do not change as much.

This is one way to get bigger mixes without making them fatiguing.