SONIC SQUEEZE
Mar 1, 2003 12:00 PM, By Doug Eisengrein
For the opening installment of Remix's new desktop-production column, the magnifying glass is on a crucial yet often misunderstood element in music production: compression. I will begin by giving a brief definition of this enigma and then discuss a few possible creative applications while pointing out some potential trouble zones along the way. I will also discuss the different plug-in platforms available and highlight a few specific plug-ins that I favor.
A PEAK BEHIND THE CURTAIN
For the sake of readers who are novices, simply put, compression is the process of reducing (“squeezing”) the dynamics of a signal or raising the lower levels of a signal. It is perhaps the mastering engineer's most formidable tool. The mechanics of compression are deceptively simple — compressors commonly comprise just a few parameters: threshold, ratio, attack, release and output (“make-up”) controls. It is the relationship between those settings, however, wherein the fine art of compression lies.
Although the audible result of compression is difficult to describe in print, it is generally used to achieve a few things: a hotter overall signal, fuller tone, decreased dynamic range or the accentuation of certain frequencies. In the mix, compression is often employed on all-important elements (kick drums or bass lines) to render them thick and punchy; it is also used on sharp percussion sounds (such as hi-hats) to make them stand out in the mix. I typically use less compression for natural, full-frequency acoustics; however, with frequency-specific elements, such as a lead synth, you can be a little more liberal.
DYNAMIC CONTROL
If you use a lot of plug-ins simultaneously or if you have a slower processor, try inserting a compressor on an aux bus and route a few tracks with similar properties to that bus, thereby saving CPU power. I find that doing this will often do the trick, and it often produces a more balanced mix because the number of competing compression ratios is reduced. A good scenario for this approach might be a vocal track and its corresponding harmony parts — especially when they are of the same vocalist. When trying this, compare the results to compression applied to each channel separately and ultimately use what sounds better. A similar idea is to route a track's effects send to a bus with compression, rather than the entire signal. That way, you can preserve the original signal while controlling the amount that gets compressed and mix it separately. This is also a good way to compress a final mix, comparing among the dry, wet and mixed variations.
CARD OR NO CARD
The two main plug-in platforms available are host-based systems and native systems. Host systems have traditionally been preferred, as the digital signal processing (DSP) exists on the card and therefore does not tax the CPU. Digidesign Pro Tools systems have dominated the market for many years, being for a long time the only host-based DSP platform available. Pro Tools is being challenged now by others entering the “card” game, such as TC Works with PowerCore, Mackie with the UAD-1 and Creamware with PowerPulsar.
Among the attractive features of host systems are their high-quality plug-ins. A few of my current favorites are the CS-1 Channel Strip included with Mackie's UAD-1 card and Master X3 included with TC Works' PowerCore. Mackie's powerhouse CS-1 Channel Strip features a beautifully simple and effective compressor with a true analog-style VU meter. TC's Master X3 is magnificent for critical mastering applications. It is a multiband expander/compressor/limiter. X3 is, in essence, a TC Finalizer in virtual form.
Native platforms such as VST or MAS are real options now for pro users, even for those who use plug-ins heavily. Topping my personal list are the Masterworks Compressor built into MOTU's Digital Performer and (once again) TC Works' Compressor/De-esser, which is included with the company's Native Bundle software. MOTU's offering is a multiband compression wonder, featuring solo and bypass switches for each of the three bands and selectable frequency bands. Among the many pleasing features of TC's Compressor/De-esser are long and precise level meters, adjustable soft-knee control and TC's proprietary Soft Sat, which adds convincing analog-style warmth.
Another contender in the native category worthy of mention is Emagic. Its Logic Platinum 5.0 comes bundled with a comprehensive A-list of its own proprietary plug-ins, including the new Multipressor. Multipressor can compress as many as four bands, which are freely selectable between 20 Hz and 20 kHz. The plug-in has two large screens, one for drag-selecting the width of each band and one displaying the different bands with their corresponding compression characteristics. The company also included expansion, such as threshold and ratio controls, as well as a look-ahead feature, which can be vital in the digital domain for peak limiting and more accurate compression.
These few ideas and descriptions have only scratched the surface of compression and its creative applications — rest assured that the topic will be revisited in greater detail. Until then, to utilize this element of music production effectively, remember: Compression is a highly subjective recording function, and your ears are really the most critical tool for this job.
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