Compression in stages?

[BrettT]

Does anyone apply compression in multiple small stages instead of squashing everything with just one instance? I normally use one instance, but am interested in the advantages of using smaller amounts of compression in multiple stages. Any tips, info, etc. is appreciated!

 

[-Loco-]

I normally parallel compress my drums and compress each element. The trouble im having is that:

In the windows 'volume control' fader...if i have this fader set to a tiny amount and then i play a track from a website like myspace and then adjust the fader slightly i get a dramatic increase in volume.

If i do the same with one of my tracks, the increase in volume is really minor.

 

[John_C]

The trouble im having is that:

In the windows 'volume control' fader...if i have this fader set to a tiny amount and then i play a track from a website like myspace and then adjust the fader slightly i get a dramatic increase in volume.

If i do the same with one of my tracks, the increase in volume is really minor.

This belongs in this thread why?

 

[Carlsman]

I compress the snare in 2 stages. First with a ratio around 4:1 and a little longer attack. And then through another compressor with less ratio and shorter attack. Also, I send both the top and bottom snare mic to a stereo bus where I apply the compression and everything else.

 

[soundsunderground]

yep, 1 or 2 compressors on the way in, 1 compressor itb, sometimes bussing with compression, parallel, etc

 

[BrettT]

What audible advantages does compressing in stages bring? Is it better for some instruments than others?

 

[ahjteam]

What audible advantages does compressing in stages bring? Is it better for some instruments than others?

transparency. there is a difference if you use 5 compressors with 1.1-2:1 ratio that reduce 0-3dB each versus one compressor that reduces 0-15dB with 4-8:1 ratio

 

[_Protoss_]

I was asking the same question yesterday after saw this video:



i would definitely try this technique

 

[AudioPhile777]

Does anyone apply compression in multiple small stages instead of squashing everything with just one instance?

I usually do this with snare, vocals, bass and the master.

 

[jangoux]

I usually do this on vocals and bass...with snare i parallel compress the fuck out of it, and use another comp with a slower attack as an insert.

 

[-Loco-]

This belongs in this thread why?

Well I posted it before I created a thread about it, and I wanted to see anyone else had the issue.

 

[ahjteam]

Well I posted it before I created a thread about it, and I wanted to see anyone else had the issue.

...but it has nothing to do with this topic

 

[The-Zeronaut]

i do it with vocals

 

[-Loco-]

...but it has nothing to do with this topic

I thought it might have been to do with the way i had my compressors set to

 

[waltz mastering]

Does anyone apply compression in multiple small stages instead of squashing everything with just one instance? I normally use one instance, but am interested in the advantages of using smaller amounts of compression in multiple stages. Any tips, info, etc. is appreciated!

It's called serial compression or stacking. You can set the the two compressors differently to grab whatever your compressing in a way that you can not achieve with one compressor. One set with a slower attack and quicker release followed by another with a quicker attack and slower release sometimes works well on lead vocals in the mixing stage. ymmv

 

[BrettT]

Thanks for the info all! Anyone else? I plan on experimenting with this method on a new project.

 

[Morgan C]

Serial limiting can be cool too, esp on something that you don't want to move an inch, like the bass lowend. One with a faster release, one with a slower release, and then the bar doesn't even move

 

[Ermz]

Too much limiting can be dangerous because you run the risk of eliminating the transients almost entirely, resulting in just a dull hum of low-end, rather than something which is punchy. Bass is one I always try to incorporate a mixture of fast and slow attack compression on. It's an instrument whose seating within a mix is very sensitive to the att/rel parameters.

I use staged compression all the time. Lead vocal usually gets at least 4 different types of comp/limiting. Usually Distressor on the way down, then C4, then Rvox, then L1, then Millennia opto comp, and then my 1176 blue. All doing something different to the signal. For most metal you can usually eliminate one or two of those and take it easier, but the more dynamics processors you have, the more control you have over the envelope of the signal.

Bass is usually Millennia then Stillwell Rocket then L1, then whatever else I think suits. Sometimes 1176 black real or plug-in, sometimes another limiter. Whatever works.

So you get the idea. For drums I'm usually a bit more conservative in metal, I try to avoid parallel compression because there isn't quite so much room for those sounds to develop, and you start getting muddy on faster material. I'll usually have each sample individually compressed, then compressed again on the bus, then limited slightly, then clipped, and then the drum bus may be getting 1 to 2dB shaved off just for some extra glue/punch as necessary. Of course this is all running into a master bus comp taking off anywhere from 3 to 8dB, so once you've staged it all there's a hefty bit of compression going on.