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Q) Should we not use any compression
during the mix session and
let you add Class-A compression? -hilli
The
approach I
recommend is to make your mix sound as good as you possibly can right
where you are, and do what it takes to get that sound. Do not "guess"
what mastering compression will do for your mix, especially since the
mastering engineer generally cannot compress separate tracks which may
or may not need compression. I agree with not using compression over
the stereo mix buss, because if it's overdone, it can't be undone in
mastering.
Here's
the deal - with the
steroid-hot levels of today's CDs (to the point of smashing most of the
dynamic range so it looks like table-top mountain) most of the time limiting
is used, and compression is rarely
used. Limiting is fast and deep, compression is slow and wide. Yes, you
can say that limiting is a form of compression but it is more specific
to the peak information that must be addressed in order to make a hot
CD without going into tons of digital overs (which don't sound good...
and are found on many records by the way... which I think is one of
several reasons people turn off their music sooner than they did years
ago....).
Individual
tracks should
be appropriately compressed, even when using non-Class A compressors!
The bass usually needs compression that is very different from the
vocals, and very different from other instruments. The mastering
compression is a global effect that is like polishing the car - but it
won't specify whether the car has automatic transmission or manual -
you have to build the car that way. Compressing or limiting the bass is
an important way to keep it from bulging out unevenly, causing the
mastering engineer to have to reduce low end in ways that compromise
the kic.
As
far as drums, I don't
recommend compressing them (limiting works well at times) unless you
want to create a specifically altered sound with compression. It can be
very cool, but it's a mistake to think that adding a compressor to a
drum will make it punchier in every case. Sometimes it will, sometimes
it won't. Remember, compressors are slow and drums have a very fast
attack time. By the time you lower the threshold low enough to duck
down the attack, you've smoothed out the snap in favor of that thwaak
sound.
R&B
and rap is really
another discussion. Again, the CD loudness wars have altered the way
you
arrange the music and the way you mix in order be competitive. On a
super-hot R&B CD, the drastic amount of limiting needed to flatten
out the kic drum attack literally changes the shape of the waveform.
The limiting adds sustain to the kic and bass, which means your mix
will sound muddy if there's to much sustain in the instruments and
samples themselves.
Unmastered
kic waveforms
look like a triangle sitting on it's side - the wide end to the left,
the point to the right. Mastered kics look like a big box with a small
triangle glued to the right. The box shape comes from the flattening
out of the initial attack - the sound then sustains more vs. sounding
instantaneous. The only way then to suggest an instantaneous sound is
to shorten the sample more and put some air right after it, thereby
recreating the impact.
Thus
the arrangement of
the music and the selection of samples has more to do with the punch
than the mastering compression. If the bass, vocals, and other tracks
are effectively compressed in order to keep their sound clean within
the mix, then the other punchy sounds will come together in mastering
and you'll have a great sounding record.
Q) Do you have any tips for preparing a mix
to be mastered on to vinyl? -Simon
Basically
mastering for
vinyl is the same with some extra care around sibilance and low end
phase. You also need to know how long the total length per side is
given the number of songs per side, and how hot you want it to be on
the disk. The more compression and limiting (normally associated with
making "hot" CDs) the more it's easy to cut a louder disk. But that
doesn't make its sound better. It just puts a "safety" factor on the
peaks.
Lounder
levels also mean
more disk space is used by the lathe, so the number of songs, the speed
45 or 33, and what your competitive market is should be a factor. You
want to compare your mix with other vinyl records - but compare not
only the sound, but the length of the songs, how many per side, the
arrrangements of the actual musical parts, and the market you're
appealing to. Basically, match up to the formulas on the best sounding
disks, and you're in there.
Generally,
I'd try to
retain some dynamics on the vinyl because it will sound better and be a
more lasting, pleasing experience. Yes, the DJ may have to turn it up a
bit. Again, many of the answers are in comparable product that's
already out there for you to listen to. Assuming the factors I've
mentioned are a reasonable match, you should be able to take in a great
sounding LP and play it for the mastering engineer and say "get me in
the ballpark of this record."
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