This will give the impression of a little extra loudness without doing too much damage. Everything below the threshold contains normal dynamic changes, whereas everything above has no dynamic change at all! In general, I would suggest you avoid using limiters during mixing (your music will see enough of them if it ever gets broadcast), but if you feel the need, try to restrict the effect to only the top 2 or 3dB of signal peaks. Limiting always tends to sound a little unpleasant and harsh, because it has such a drastic and unnatural effect on signal dynamics. Limiters are great for overload protection, and possibly for getting a tiny bit of extra loudness from a mix, but not much else. A limiter is just a compressor with a very high ratio (10:1 or more) and a threshold set to something close to the maximum allowable peak signal level. To start off with, let's consider the simplest kind of compression - the limiter. The purpose of this workshop is to offer some guidance on using compression in the mix, as well as to give you a few ideas for things to try on your own projects. However, there are many different kinds of compressor and even more ways of using them, each producing different end results with a variety of side effects. \images/mixcomp1.gifDynamic compression is one of the most commonly used processes when it comes to mixing, probably second only to equalisation. Hugh Robjohns explains some of the techniques and traps involved in mix compression. Most of this balancing is done by riding the faders, but dynamic compression can also be a very useful and powerful tool if used appropriately. The craft of mixing is all about controlling and balancing the relative levels of different instruments.
The old trick of recording to analogue tape with noise reduction and then switching it out on playback can even be emulated using a combination of enhancer and heavy compression.
The attack portion of the sound is then not as compressed as the rest of the drum note, and consequently sounds louder.Įxperimentation with quite extreme compression (especially when using valve compressors) can yield spectacular results. This is what's known as 'pumping' and works particularly well on cymbals where a variey of shortish release times can yield interesting results.Īnother trick to increase the attack on a dull drum sound is to have a fairly slow compression attack time. A fast attack and release time with a high ratio and low threshold can cause the drum sound to drop, then recover in level to unity gain quickly. In contrast, the compressor can deliberately be used to alter drum sounds. For a more natural drum sound a slower attack time will allow the compressor to do its job without adversely affecting the sound. Consequently, a compressor set to act at its fastest speed (typically a fraction of a millisecond) will take the dynamic attack away from the drum leaving a duller, flatter drum sound, especially if low threshold and high ratio values are used. As an automatic level controller to take care of unwanted or unexpected signal peaks during recording and/or mixing.ĭrums have transient sounds with a fast attack and short duration. hopefully there should be a little more info on compression below.Doctor's Advice: Drums And CompressionĬompression is generally used in two ways: Dont know if this is gonna help or work but.