Compressing leads?

[tr0n]

Hi all,

I'm having a little trouble getting leads and overdubs to fit into a mix I'm working on. They're all distorted hi-gain tones so they should naturally be compressed anyway but there's harshness to the tone and a slightly unbalanced dynamic that I'm trying to get right. EQing is fairly self explanatory but I'm wondering about the ideal kind of compression to use.

I would assume the best method would be to use a threshold that only pulls down the transient parts of the signal to a level consistent with the rest. The ratio depends on the dynamic range, and a slow enough attack to retain note definition, although if it's transients I'm dealing with then a fast attack is necessary? What about release times? Is auto release recommended? If that's not available then should I time it to the shortest sub division of the notes being played?

Thanks in advance,

Mark

 

[ahjteam]

try a wide but shallow drop ~1.5-3.5khz on the rhythm guitars when the leads come on. like about -3dB (give or take 2dB

 

[Fragle]

try automating the rhythm guitars down during the lead section, like 1 db or so.

otherwise, treat the lead like a vocal. make it fit into the same midrange slot basically.
as for compression, sometimes it helps to bring out the lower notes, but i tend to leave them dry.

also, try delay instead of reverb.

 

[Melodeath]

I usually boost a lead around 1k to help it cut through

 

[MarcusGHedwig]

I often compress leads honestly, though only taking off 3 dB at the absolute max (with a 4:1 ratio)

 

[colonel kurtz]

I often compress leads honestly, though only taking off 3 dB at the absolute max (with a 4:1 ratio)

same here. most guitar leads tend to sound like they're popping out of the mix to me without it. maybe it's something to do with the tones i pull when tracking...but i always need to tame solos a bit with some mild compression

 

[zvish]

for me best thing is process leads same as vocals, works great, and means a lot of GR

 

[Plec]

I think that successfully integrating leads and especially complex leads that span a wide range is one of the hardest things to accomplish in metal production... period.

Maybe not looking at an isolated event, but a slightly unbalanced lead sound can change the direction of a whole album when you get to mastering. The reason is that you have yet another wall of distortion trying to get ahead of another wall of distortion, and while your master probably already distorts in an attempt at getting level, the addition of a lead guitar not very carefully integrated can make it unbearable which can translate to the need of cutting the album 2-3db lower in amplitude if a remix isn't possible, and even if you tried to remix it you might not be successful there either because what is needed is really a completely new lead sound. :Shedevil:

So even if compression/limiting, automation and careful EQ usually is mandatory, it might not even help if you didn't put thought into what type of lead sound would actually fit in with all other things happening in the mix.