compressor/limiter settings

Archived from groups: rec.audio.pro (More info?)

I just added a Yamaha comp/limiter for mixdowns, but the manual
contains NO helpful setup or usage info, ditto for their website. I
guess they're assuming I already know what I'm doing.

I already use a dbx compressor (always in it's "auto" mode) for most
non-MIDI stuff, but it's "true-RMS" feature doesn't work well for
limiting.

The Yamaha unit is fully manual, so I have threshold, ratio, attack,
release, along with input and output pots (including stereo linking).
I've found precious little on the 'net as far as BASIC settings for
compressor/limiters.

What might you recommend for hard limiting and then separately,
compression settings as I do stereo mixing? I'd like to put this unit
through its paces before I decide whether or not to keep it.

Any help would be greatly appreciated.

Archived from groups: rec.audio.pro (More info?)

"Blackburst" <blackburst@aol.com> wrote in message
news:20041124140932.23218.00001229@mb-m03.aol.com...
> 1) Set your input level correctly, so there is no distortion and plenty of
> headroom.
>
> 2) Start with ratio about halfway. Turn down threshhold so that it just
starts
> to have an effect on the signal.
>
> 3) In most cases, set the attack and release to their fastest positions.
>
> 4) For more limiting, sneak the threshhold down a bit and the ratio up a
bit.
>
> 5) Set your output level so that it is roughly equal to the input level
when
> bypassed.
>
> On a stereo mix, I would start the same way, attack and release on
fastest,
> ratio about halfway, and just sneak threshhold down so that it starts
affecting
> the signal.
>
> In general, the least compression is the best....-----snip------
______________________________________________________

Respectfully, I have to disagree.

Substantial compression on bass and drums and BGs, via auxed strip, delayed,
eqd etc - I could go on - is a really interesting and important way to work.
Certainly massive compression is a significant part of many of today's
recordings, particularly those aimed at airplay.

It's not something that can be taught or learned quickly. Getting a feel
for how the varialbe controls affect signal to your ears is pretty well
where you have to start. There are many tricks and tips to find.

You'd do well to get Bobby Owsinski's definitive work 'The Art of Mixing',
wherein there is much fine information and techniques from many pros. For
this book, go to www.musicbooksplus.com

Pumping is a cool effect, particularly on piano.

I'd say learn to work without the limiter and gate engaged, deal with the
compressor on it's own.

Otherwise, this is a fine start primer from Blackhurst.
____________________________________________________

> If you hear clear artifacts,
> like pumping, back off. Just a quick starter primer.

-rj-
www.thelittlecanadaheadphoneband.ca
www.lchb.ca

Archived from groups: rec.audio.pro (More info?)

"David Morgan (MAMS)" <mams@NOSPAm-a-m-s.com> wrote in message
news:069pd.2998$TG2.888@trnddc01...
>
> "**bg**" <info@thelittlecanadaheadphoneband.ca> wrote in message...
>
> > Respectfully, I have to disagree.
> >
> > Substantial compression on bass and drums and BGs, via auxed strip,
delayed,
> > eqd etc - I could go on - is a really interesting and important way to
work.
> > Certainly massive compression is a significant part of many of today's
> > recordings, particularly those aimed at airplay.
>
> This is what makes this business so much fun... there are 1000 different
> ways to approach tracking and mixing, and there probably wouldn't be two
> engineers out of 50 that would approach things the same way, although
> their results might be surprisingly similar.
>
> I'm rather happy to say that I still haven't, in 30 years of recording,
*ever*
> used a compressor on a kick or snare drum during tracking of my own
> volition. I usually use a little 'over easy' on electric bass and vocal
tracks,
> but nothing more in tracking. Ocassionally, I'll use a peak limiter on
the
> kick and snare, and perhaps on instruments that have *serious* problems
> with ultra-fast transients, but that's about it.
>
> I'm a little more liberal in the mixdown stage, but I tend to stay away
from
> the whole "let's compress everything" thing just for the sake of making
things
> loud - which by the way, seriously screws with the broadcast chain and can
> make things sound pretty darned bad over the airwaves.
>
> > It's not something that can be taught or learned quickly. Getting a
feel
> > for how the varialbe controls affect signal to your ears is pretty well
> > where you have to start. There are many tricks and tips to find.
>
> Hear, hear. I tend to use compression during the mix to add color and
> to shape a sound in a particular way, not necessarily for the sake of
> steady average levels. (Pray for good players). There is something new
> to discover about various compressors and techniques every time you
> turn on and plug in a different dynamics box.
>
> > Pumping is a cool effect, particularly on piano.
>
> Being a jazz buff... <g>
>
> I have never compressed an acoustic piano. In the case of such an airy
> instrument, full of overtones and subtleties, I have to believe that the
very
> best compression would be fader moves.
________________________________________
Hey David,

I speak of (piano) effects from extreme and manipulated compression like
Bowie and Elton use on occasion (coupled with other fx I might add.)

I've observed that, in many senses, the most skilled recording engineers are
those that record jazz musicians. They know how to get down tracks that are
'tasty'.

I like 'tasty' instrumentalists, and it appears a jazz affectionado hears
how to get it down right.

In my world, if any compression is used, 90% is in the mixing only.

Congrats on your shop, looks like a grand place to work.

Any good steak houses nearby?

-rj-

www.lchb.ca

Archived from groups: rec.audio.pro (More info?)

>Have you ever used side-chaining (from eq unit to compressor) for 'ducking'?
>

I usually trigger the compressor from a sub out of the announcer group. Can you
explain how the EQ part works?

Archived from groups: rec.audio.pro (More info?)

blackburst@aol.com (Blackburst) wrote in message news:<20041124140932.23218.00001229@mb-m03.aol.com>...
> 1) Set your input level correctly, so there is no distortion and plenty of
> headroom.
>
> 2) Start with ratio about halfway. Turn down threshhold so that it just starts
> to have an effect on the signal.
>
> 3) In most cases, set the attack and release to their fastest positions.
>
> 4) For more limiting, sneak the threshhold down a bit and the ratio up a bit.
>
> 5) Set your output level so that it is roughly equal to the input level when
> bypassed.
>
> On a stereo mix, I would start the same way, attack and release on fastest,
> ratio about halfway, and just sneak threshhold down so that it starts affecting
> the signal.
>
> In general, the least compression is the best. If you hear clear artifacts,
> like pumping, back off.
>
> Just a quick starter primer.

What your describing is limiting not compression.