Compression

[Audiocr381ve]

I am running Cool Edit Pro 2.0. I have tried compressing vocals and drums and in the end result I keep coming up with this pulsating sound. Is their a way to compress vocals and not get that pulse?

Is thier something I can adjust?

[Qantares]

I'm not too familiar with Cool Edit, but in general, compression consists of a few elements:

Threshold (size or ceiling)

Ratio (amount of compression)

Attack (how quickly the compression kicks on)

Release (when the compression subsides)

If you're getting that "pumping" or pulsating effect, it generally has to do with your levels on the attack and release.  Try messing with those 'till you're satisfied with the result.

In general, R&B and Hip Hop recordings have ALOT of compression in comparison to other musical styles such as jazz, rock, blues or traditional gospel.


God Bless!

[Audiocr381ve]

Hey thanks man!

I always add the compression after the track is recorded. Would it be better to use it during? Or even better to buy an external compressor? I've seen them run from $75 to $700 , why?

[Qantares]

May I ask why you're adding compression?  In other words, "what is it you are trying to acheive by adding compression?"

I've noticed that sometimes people add compression "just because" even if there is no real need for it.

I'm kind of cautious with compression because too much of it can kill the dynamics of a recording.  I use the compressor in the avalon 737 because its pretty transparent.  

I also like the masterworks compressor plug-in that comes with Digital Performer.  Its just a basic three band compressor but it gets the job done.

[Audiocr381ve]

I personally use compression for the same reason everyone else does, or should. To control peaks, It's unprofessional to have a loud cymal crash that scares you to death in your mix. So I compress the drums, I'm just trying to get rid of the pulsation. I'll wait for more responses! Thanks guys

[LostBoy]

The answers posted so far have been great.  Compression is really used two ways. The first is (for lack of a better term) as an effect. This is when for whatever reason you color your sound with compression. Sometimes it's very subtle and other times it isn't.  For vocals compression is great if your vocalist doesn't have good mic technique. If he/she moves around a lot or backs into and out of the mic, etc. Bassists use it often when recording because it sometimes helps the instrument sit better in the mix and sound more even throughout.

Secondly compression can be added to the mix at mixdown or in the mastering stage. This helps control the peaks and valleys of the total mix. As has been noted not every song needs compression and using it too much is like overusing reverb. Nothing really stands out if everything is compressed to death.

Personally I like to compress as little as possible and give the mix some room to breathe. If it's needed the mix will let you know. As for the example you gave about the crash cymbal scaring the heck out of everyone in the middle of a mix ...

That sounds more like a problem that should be addressed in preproduction. Perhaps a check of the mic position or even mic type will help. If all else fails have the drummer lay off the cymbal altogether and add it after the fact and blend it into the mix.  If the drummer has problems not using the cymbal, substitute a practice pad (or another low noise substitute) for the cymbal so he can hit SOMETHING.

The best mixes are those that are well thought out beforehand. Often we fret over something in a mix that should be fixed long before it got there. One of the worst things I hear people say is, "Oh don't worry. We'll fix it in the mix."

Why? Why not just make it right and save yourself, your ears, and your sanity all that grief? The less knobs and gadgets you have to fool with at mixdown the better your mix is going to sound.

So often we work backwards because we tend to be gearheads. "I just can't record without my Illidium Q36 Explosive Space Modulator!" we say. Balderdash! Most of the time we don't even need such a thing. And here's a hint - record it without it first anyway.  The result may surprise you once you pull the whole mix together.  And if the mix still screams for the effect then go back and re-record it or add it via effect sends or whatever the situation (and your equipment limitations) calls for.

I hope my comments have been remotely helpful or at least entertaining.   :lol:

[Qantares]

For controling peaks, I prefer using a Limiter.  A limiter generally will not affect your output level yet you can use the theshold to give the track some consistency.

[Danoman]

I would use a "GATE " effect on the drum! :wink: Why would you want to compress your vocals! Are you doing some Rap music?

[Audiocr381ve]

I'm a noob thats why!

Thanks Lostboy and everyone for the responses.

What's the best effect for making vocals sound even? And what does a "gate" do and how do I apply it with Cool Edit pro? Limiter?

[Audiocr381ve]

I STILL NEED HELp!

[Qantares]

I recommend a book called "The Mixing Engineer's Handbook" by Bobby Owsinski

It contains contributions from 20 of the the top engineers in the industry including Bruce Swedien, Bernie Kirsh, Dave Pensado, Benny Faccone, George Massenburg, Jerry Finn, Joe Chiccarelli and Ed Seay among others.  

These guys share a wealth of information from their vast experience as mix engineers on many of the most critically acclaimed and comercially successful recordings of all time.  They give tips on a host of things like gear, settings, monitoring, styles of mixes, bussing, mixing formats, timetables, etc.

The book contains an entire chapter on Compression. It also devotes entire chapters to important elements of audio mixing like Equalization, Effects, Monitoring, Stereo Mixes, Surround Mixes and a few other things.

You can pick it up at Guitar Center for like $35 (a most worthwhile and wise investment).