Tips & Tricks
The craft of mixing is all about controlling and balancing the relative levels of different instruments. 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. Hugh Robjohns explains some of the techniques and traps involved in mix compression.
Dynamic compression is one of the most commonly used processes when it comes to mixing, probably second only to equalisation. 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. 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.
To start off with, let's consider the simplest kind of compression - the limiter. 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. Limiters are great for overload protection, and possibly for getting a tiny bit of extra loudness from a mix, but not much else. Limiting always tends to sound a little unpleasant and harsh, because it has such a drastic and unnatural effect on signal dynamics. 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. This will give the impression of a little extra loudness without doing too much damage.
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How & When To Use Mix Compression
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