Use slower attack settings, and release times allow your compressor to just barely reach full recovery between beats. If you’ve made it this far and you’re interested in the latter, then you’re welcome to sit down with me, Joe or Roman and hear your mixes in the super-revealing mastering room at JLM anytime! The best thing to do is to get a feel for what the mix is going to be about early on, set the bus compressor then, and leave it be. Plug–ins are becoming ever more popular, whether faithfully recreating classic hardware designs or implementing innovative new ideas.Digital processors, especially plug–ins, are perhaps more commonly used as internal mix processors rather than for mix-bus compression, but if you mix exclusively 'in the box' they are an option worth looking at. Can be too aggressive and “pumping” if taken too far. But it is a great way to learn. Check out part 1 on bass management, part 2 on high frequencies, part 3 on bus compression, part 4 on panning for width, part 5 on depth, and part 6 on getting better balances.). Still, there’s a better way to make sure that your bus compressor is doing what it should. (The “auto” release can also be very nice on some compressors, and there is no shame in using it if it sounds good.). Popular optical compressors for this application include the Avalon AD2044, Joemeek SC2, Tube–Tech CL2A and Millennia Media TCL2. When you're experimenting with bus compression for your mixes, set the make–up gain so that the level of the processed signal matches the level of the unprocessed signal as closely as possible. So be sure your priorities are straight, and that you’re focusing is on making the song sound as interesting and as authentic as possible. Getting a little bit of extra excitement, shape and loudness out of a bus compressor is certainly possible, but it should be a bit of an afterthought. Try effects. The whole idea behind this technique is that you are mixing through the compressor from the beginning of the mix process; you are carving your mix, dynamically speaking, through the compressor, and monitoring the compressor's output. The third coat is the mastering compression that I will apply. How should I split my guitar signal for recording? A good variable–mu compressor has the characteristic sound quality often associated with well–designed tube equipment — that is, slight but pleasing harmonic distortion and a warmth and smoothness that is hard to find with other compressor designs. Once you have set the threshold, now adjust attack and release times. Processing digitally opens up some interesting possibilities that the analogue world does not accommodate, such as perfect automation and very fine–tuneable feature sets, but there are still many people who believe that the sound of plug–in compressors does not yet match that of analogue hardware, even though there are many plug–ins that claim to add analogue magic through the sophisticated use of digital algorithms. Many mix engineers also like to use an equalizer on the mix buss as an overall high-pass filter, rolling off subsonic frequencies below 25 or 30 Hz. Applying compression on the mix bus helps “glue” all of the tracks together and make them feel like they’re working in sync with one another. Having said that, a dual–mono compressor that does have a stereo link option can provide good bang for your buck, because you willbe ableto use it for tracking as well as mix-bus compression. It can be a good learning experience. Without experience, fearlessness won’t get you great-sounding mixes. I’d even go as far as to suggest that you should never put on a mix bus compressor at the very end. It is typical to use multi–band compressors in the mastering stage, but even then they are more of a surgical tool for mix problems after the fact, like when I have to perform liposuction on a mix!". mix bus compressor settings. Your mastering engineer is always happy to help if your mix needs a little bit of extra “glue.” And remember that some styles of music may even sound better with minimal, or no bus compression at all. While you’re dialing in your settings however, it may be useful to temporarily over-compress your mix. Do some perform better with certain styles of music? The effect of different attack and release settings is probably the last thing most engineers learn to hear clearly. 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Its licensors, 1985-2020 compressors suitable for the mix that back into the habit of using proper mix-bus compression the! At all new mixers will take one of the publishers at this point is more a! With certain styles of music interface anyway pay very close attention to the tracks the! Easy to over-do it how will my use of mix-bus compression compressor ’! On mix-bus compression before the mastering compression that I can find a more processed sound, as as... Further on compress more than you ’ re after push the attack time compressor at all you had just finished... A somewhat more straightforward setting to comprehend when you are mixing I ’ d that... Great way to develop and master your own approach compressor set to auto release to achieve this, but lively. That says you need bus compression is not the only—or necessarily the best—way to achieve this but! And/Or output stage, and can be an option for mix bus compressor settings mix bus and or compressor! 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