Compressors designed to cope with mixes are often called buss compressors since they are usually inserted across a stereo buss, as opposed to a single channel. With a multi-band compressor, you can set different attack, release, and threshold settings for the lows, low mids, high mids, and highs. We load Native Instruments' Solid Bus Comp - a plugin emulation of the classic SSL G-Series Buss Compressor - as an insert on our track. Get tips on these questions and more. Some solid advice here w/ more answers to your question. Use your ears; if you apply compression and don’t like how it affects your master, don’t hesitate to take it out. A compressor reduces dynamic range. 3 – The Sound. When you’ve got it just right – and bear in mind that you may not be able to ascertain the optimum attack time until you set the release time correctly – the percussive elements of the mix will pass through unscathed, despite the compressor reining in the overall level.The release time is a little trickier since the goal is to get the action of the compressor to blend in with the musicality of the track. The result is smooth gain reduction which follows the music, as opposed to it kicking in and out randomly. These two controls are so important that we’re going to devote an entire tip to them – see #5 below.Soft vs. Hard Knee: A knee setting specifies the smoothness of the transition from no compression to full compression once the threshold is passed. In this article, we’ll look at several important tips for using compression during mastering. Just by looking at the waveform, you should able to tell whether there are lots of peaks in the track; if not, you probably don’t need to add any compression. Analog circuitry also tends to add random anomalies that lead us to believe that we are hearing an improvement over the original signal. Dynamic range is the difference between the loudest and quietest parts of an audio signal. That said, in this article we’re going to specifically focus on compression within the context of mastering and how we can use it to enhance our D.I.Y. I've been on the Manley Varimu lately and my settings are pretty similar, although I play with the input and output gains to get some color. For more mastering tips, check out this article on how to EQ effectively during mastering. Whenever you run audio through a filter, you lose a little bit of fidelity. Why compress during mastering? 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Over-processing with a multi-band compressor can easily skew the frequency and phase relationships of your master. Use your ears when you receive a mix — if you find that the mix itself is already pretty compressed, adding compression at the mastering stage probably won’t help it much. For a multi-band compressor to work, it needs to use crossover filters to separate your audio into different bands. Compression can do many things like add punchiness, increase detail, and make things sound fuller, but in mastering a compressor is primarily used to increase loudness. Splitting the work between a compressor and limiter yields a more natural result. 2. masters. But, like every other process, it has its potential downfalls too. Set your threshold pretty high so that you’re getting 2 dB of gain reduction at most. Different needs of ringing, noise, and more we ’ ll look at several tips. Spectrum can call for different needs advice here w/ more answers to your.! 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