To help, here are some obvious guidelines…Īn Opto or a Tube-like compressor would not be a good idea for Production Sound but would be great for Narration or anything with low-frequency content. What To Look For In A Compressor?Īgain the question arises: “Do I need a special type of compressor?” The answer is inexpensive, you could make do with the generic compressor supplied with your DAW, but over time, you will get more sophisticated and you will be able to pinpoint the exact kind of compressors for your each of your needs. Surprisingly, the human speaking voice has a lot of dynamic… a lot, and when you have to mix it with screeching tyres, or aeroplane whines, with blaring music you need to compress … “en masse”.Ĭontrary to mixing a song, the compression applied to lead vocal is usually unnoticed, and when soloed it still … holds, soloing production sound, as described earlier, will make your head spin, but it works. We all know what a compressor does, it brings down the loud sounds and brings up softer sounds. If something has to go “wild” it’s usually dragged to the SFXs, but EQ is readily available on every track. Usually, Ambiances (or Backgrounds) do not need a compressor, as they are well “tamed,” meaning the sound is usually consistent from beginning to end. Usually, every Production Track has its set of EQ-Comp, then Sound Effects (SFX) get their own, Foley, Music, Voice Over (VO), etc. When you are mixing a song you do not have the same type of compressor for the voice as you would use for the bass, right? You could get away in using the same type of EQ across the board, unlikely with compressors (Comp). Those of you who read through my previous article EQ Is Not Just A Sweetener - Free Audio Post Production Expert Tutorial, some of you noticed that I wrote: “…an EQ is an EQ and a compressor is a compressor.” A bit simplistic, but it still holds true from the DAW’s point of view.įrom the sound point of view, there are greater “personality” differences in compressors than in equalizers. As the series unravels you will be guided in how to modify your workflow to a surround sound session, upgrade your listening environment, what to listen for and everything in between. Since you already know most of the tools, I will skip using “baby steps”. The tools are roughly the same, but their use has a slightly different interpretation than in the “music world”. Throughout these articles, tips and tricks will be given to help you get a hold with the ins-and-outs of audio post-production workflows. This series of articles is written for the aspiring mix-to-pix mixer coming from the music mixing background (P.A. In the second of a series of articles aimed at music mixers who are learning about post-production we examine how compressors have more character, and that when mixing a song you can get away in using the same type of EQ across the board, it is unlikely that you can do the same with compressors.
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