Perfect Compression In 321 Seconds

Summary

In this audio engineering tutorial, the presenter shares a professional trick for enhancing the mix using bus compression. Typically, an SSL G Series compressor is used with a 4:1 ratio, a super slow attack, and a quick release. The goal is to achieve a smooth -1 dB of gain reduction, followed by adding 1 dB to the makeup gain for balance. The challenge arises when the kick drum triggers the threshold, causing the top frequencies to duck. To address this, an internal sidechain feature is employed, which alters the detection point of the threshold. By setting a cutoff at 200 Hz, the compression is influenced by higher frequencies instead of being dominated by the lower ones. This results in a more cohesive mix without the 'sucking' sound caused by the kick drum. The presenter demonstrates the effect of the sidechain and how it leads to a smoother, 'glued' sound. For more information on mixing and mastering, the audience is directed to streak.com for relevant courses.

Takeaways

• 🔊 Use an SSL G Series compressor or a similar VCA for bus compression, which is a common industry standard.
• 🎛️ Set the ratio to 4:1 and the attack to 'super slow' (30 or 10 ms) for bus compression, with a quick release time (1 or 2 ms).
• 📉 Aim for about -1 dB of gain reduction and then add 1 dB to the makeup gain to balance the compression.
• 🎶 Listen to the track while adjusting the threshold to achieve the desired gain reduction for a smooth, cohesive mix.
• 🚫 Identify and address issues like the kick drum triggering the compressor and causing an undesirable 'sucking' sound.
• 🔁 Utilize the sidechain feature to change the detection point of the threshold, preventing lower frequencies from dominating the compression.
• 📉 Use a high-pass filter (e.g., Pro Q3 set to 200 Hz) to affect the threshold based on higher frequencies instead of lower ones.
• 🔄 Adjust the sidechain frequency to control how much the compressor is triggered by different frequency ranges.
• 📈 Increase the threshold once the low frequencies are no longer triggering it, to achieve a 'glue' effect on the mix.
• 📊 Observe the needle movement on the compressor to ensure it's reacting to the correct frequency peaks for the desired effect.
• 🔗 For further learning, consider visiting streak.com for courses on mixing and mastering suitable for all levels of engineers.

Q & A

What is the standard VCA compressor commonly used for bus compression?

The SSL G Series compressor is a standard VCA compressor commonly used for bus compression.

What is the recommended ratio setting for bus compression?

The recommended ratio setting for bus compression is 4:1.

How should the attack time be set on the compressor for a smooth mix?

The attack time should be set to super slow, which can be around 30 or 10 on the compressor.

What is the typical release time setting for bus compression?

The release time should be set to super quick, with settings around one or two.

What is the purpose of reducing the gain by about 1 dB and then adding it back with makeup gain?

Reducing the gain by about 1 dB and then adding it back with makeup gain helps to balance the audio levels, ensuring that the compression effect is smooth and doesn't alter the overall volume significantly.

How does the sidechain feature on the compressor help with bus compression?

The sidechain feature allows for an internal sidechain to change the detection point of the threshold, preventing certain frequencies (like the low-end from the kick drum) from triggering the compression, leading to a smoother and more balanced mix.

What is the role of the high-pass filter (like the one from Pro Q3) in the sidechain process?

The high-pass filter sets a cutoff point, above which frequencies will affect the threshold of the compressor. This means that frequencies below the cutoff point will not trigger the compression, allowing for more control over which elements of the mix are compressed.

Why is it beneficial to not have the kick drum triggering the compressor's threshold?

Not having the kick drum trigger the compressor's threshold prevents the kick from dominating the compression and causing an uneven 'sucking' sound. It allows for a more even and smooth compression effect across the entire mix.

What is the result of using an internal sidechain to control the compressor's threshold based on higher frequencies?

Using an internal sidechain to control the threshold based on higher frequencies results in a more balanced and smooth compression effect. It prevents the lower frequencies from causing the entire mix to compress unevenly.

How does adjusting the sidechain frequency affect the compression?

Adjusting the sidechain frequency changes the point at which the compressor starts to work. By increasing the sidechain frequency, the compressor will react less to the lower frequencies (like the kick drum) and more to the higher frequencies, leading to a more even and 'glued' sound.

What is the final goal when using bus compression with the described settings and techniques?

The final goal is to achieve a smooth, balanced, and cohesive mix where no single element is overly dominant, and the overall sound is 'glued' together without any abrupt volume changes or 'ducking' effects.

Where can one learn more about mixing and mastering techniques?

One can learn more about mixing and mastering techniques by visiting streak.com, which offers courses suitable for various levels of audio engineers.

Outlines

00:00

🎛️ Advanced Bus Compression Techniques

In this paragraph, the speaker discusses advanced techniques for using bus compression to enhance a mix. The focus is on using an SSL G Series compressor, a standard VCA compressor, and a specific feature called 'glue' by cmic. The standard settings for a bus compressor are outlined, including a 4:1 ratio, super slow attack, and super quick release. The speaker emphasizes the importance of achieving a smooth, non-ducking sound by using an internal side chain feature to change the detection point of the threshold, allowing higher frequencies to trigger the compression instead of the lower frequencies, such as the kick drum. This results in a mix that 'glues' together more cohesively.

05:01

🎓 Further Learning in Mixing and Mastering

The second paragraph shifts focus from the technical aspects of bus compression to the resources available for further learning. The speaker invites the audience to visit streak.com for new courses on mixing and mastering, suitable for engineers of all levels. A link to these courses is provided in the description below the video, encouraging viewers to continue their education in audio production.

Keywords

💡Bus Compression

Bus compression is a technique used in audio production to apply compression to multiple tracks simultaneously, creating a cohesive sound. In the video, it is used to 'glue' the mix together, ensuring a balanced and smooth audio output. The script describes using a standard VCA compressor, like the SSL G Series, to achieve this effect.

💡SSL G Series Compressor

The SSL G Series Compressor is a type of compressor that is widely recognized and used in the industry for its high-quality sound processing capabilities. It is mentioned as the standard choice for bus compression in the script, indicating its preference among professionals for achieving a balanced mix.

💡Glue Compressor

A glue compressor is a term used to describe a compressor that helps to blend different elements of a mix together. In the script, the cmic 'glue' compressor is highlighted for its ability to create a cohesive sound, particularly when used with specific settings to achieve a smooth, non-ducking effect.

💡Threshold

The threshold in the context of compression is the level at which the compressor starts to affect the audio signal. In the video, adjusting the threshold is crucial to achieve the desired amount of gain reduction without causing unwanted artifacts like 'sucking' sounds, which are undesirable.

💡Gain Reduction

Gain reduction refers to the amount by which the level of an audio signal is decreased by a compressor. The script specifies aiming for about minus 1 dB of gain reduction to achieve a smooth effect without overly compressing the audio.

💡Attack and Release Times

Attack and release times are parameters that determine how quickly the compressor starts to reduce gain after the threshold is exceeded (attack) and how quickly it stops reducing gain once the signal falls below the threshold (release). In the script, 'super slow' attack and 'super quick' release times are recommended for bus compression to achieve a smooth and natural sound.

💡Side Chain

A side chain in audio processing allows the compressor to react to a different signal than the one being compressed. In the video, an internal side chain is used to change the detection point of the threshold, preventing the kick drum from triggering the compression and causing the 'sucking' sound.

💡Pro Q3

Pro Q3 is a type of equalizer (EQ) plugin used in audio production for adjusting the frequency content of a track. In the script, it is used to set a cut-off point at 200 Hz to demonstrate how the internal side chain works by affecting the threshold of the compressor based on frequencies above this cut-off.

💡Frequency Response

Frequency response refers to how an audio device or system reacts to different frequencies. In the context of the video, the focus is on higher frequencies affecting the threshold of the compressor, which helps to avoid the low-frequency content, like the kick drum, from dominating the compression.

💡Makeup Gain

Makeup gain is the additional gain applied after compression to increase the overall level of the audio signal back to a desired level. In the script, it is mentioned to add 1 dB to the makeup gain to balance the mix after achieving the desired 1 dB of gain reduction.

💡Mixing and Mastering

Mixing and mastering are two critical stages in audio production. Mixing involves balancing individual tracks to create a cohesive sound, while mastering is the final step to polish the mix for distribution. The video script suggests that learning more about these processes can be beneficial for any level of audio engineer.

Highlights

Using a gluey mix bus compression can enhance the overall mix.

The standard VCA compressor used is the SSL G Series.

Cmic's 'glue' feature is recommended for bus compression.

Standard settings for a bus compressor include a 4:1 ratio and super slow attack.

Release time should be set to super quick, around one or two.

Automatic mode can be used but manual settings are often preferred.

Aim for a minus 1 dB of gain reduction with bus compression.

Adding 1 dB to the makeup gain balances the compression.

The kick drum often triggers the threshold, causing volume issues.

An internal sidechain feature can change the detection point of the threshold.

Using a Pro Q3 EQ to set a cutoff point can affect the threshold.

Compression based on higher frequencies rather than lower ones can prevent unwanted ducking.

Adjusting the sidechain frequency allows for a smoother compression effect.

Threshold can be increased without affecting the kick's impact on compression.

The resulting sound is smoother and more cohesive.

The mix comes together without the lower frequencies dominating.

Streak.com offers courses on mixing and mastering for all levels of engineers.

A link to the courses is provided in the description below.

Transcripts

here's something you can do on most

mixes that will give you that something

that you might be missing you'll have

heard about people using a gluey mix bus

compression but I want to show you the

little trick that Pros use to take it to

the next level it's simple but it makes

all the difference so normally for bus

compression you'd use an SSL G Series

compressor it's kind of a standard VCA

that everybody uses I like the one by

cmic called the glue I'll show you the

feature it has that I think will help

you out massively when you're doing bus

compression so let me give you the

standard settings for a bus compressor

we've got a ratio of 4:1 we're going to

set the attack to super slow you can use

30 or 10 here this is the same on an SSL

and then the release time is super quick

so one or two um sometimes you can try

also automatic mode which is around

there but I like to use one that works a

lot of the time as we play the track we

pull the threshold up and we want to be

doing a about minus 1 DB of gain

reduction that way we can then add 1 DB

to the makeup gain so it balances itself

up from the amount we're taking off for

the amount then we're adding afterwards

so let's play the track and let's pull

the threshold up until we're getting

that One DB of gain

[Music]

reduction in and out Al in and

out

calling

[Music]

so as you can hear now we've got it

taking 1 DB off it's making a kind of

sucking sound and it doesn't sound very

smooth we want it to be super smooth so

it just gels it together so that it just

glues the mix but the problem we have is

as the music is coming into the

compressor it's the kick that's

triggering the threshold that way the

kick is taking all of volume and then

the top starts ducking Down based on

what the Kick's doing so there's a

feature on this called the side chain

now you may have used Side chains for

external side chains but this side chain

is an internal side chain and what this

does it changes the detection point of

the threshold so for example if I move

this up to say 200 everything under 200

will not hit the threshold first so to

show you this let me get a pro Q3 up and

set a cut off point to around 200 and

then if I put that in everything that's

above the 200 htz is going to affect the

threshold of the compressor everything

below isn't going to affect the

threshold it will still be getting

compressed but it will be getting

compressed based on these higher

frequencies rather than the lower ones

dominating so for example if I play the

track you can hear the difference

between the two and then you'll

understand why it's sucking on the

[Music]

[Applause]

compressor in and out alone in and out

alone

and then if I play it with this on

you'll hear this is the stuff at the

moment when I don't have this on that is

going to affect the

[Music]

compressor so going back to the side

chain here let's move this up so I can

show you what happens as we sweep that

up you'll see the compressor doesn't

compress as much because it's not

compressing from the kick

[Music]

Falling In and Out in and

[Music]

out so this means that I can now start

bringing the threshold up because I know

that I'm not affecting the threshold

from the kick because I've cut it off

here so now I can bring that up and

start getting a glue a

[Music]

sound in and out alone in and out

alone

[Music]

calling so as you can see the needle is

just moving on the Peaks that are at the

top now rather than the Peaks that are

at the bottom and the whole track is now

coming together let's play it again so

you can hear it going in and out before

and

[Music]

after in and out alone in and out alone

I'm

Calling

You

Falling In and Out of Love In and Out of

Love so now that you can hear that we've

stopped using the lower frequencies to

trigger the threshold it's just being

triggered by everything above 200 we're

getting a much smoother sound we don't

have the ducking anymore and it is

really glued and come together nicely so

if you want to learn more about mixing

and mastering make sure that you go to

streak.com I've got some new courses on

mixing and mastering that will be

perfect for any level of engineer there

is a link in the description below see

you

there