![]() ![]() If you make a practice of mixing with nothing on the master channel, except for a good meter, you learn to do macrodynamic compression aurally, and according to your meters.įor a few people (particularly electronic/pop/hiphop etc), they feel that determining the extent of the music's peaks is their own job - not the mastering guy's, and so these people mix into a limiter (for example). ![]() In other words, it's conceivable (and happens frequently) that you can get your mix sounding as good as you can possibly get it without putting any compression on the master track. ![]() It's just about always better to do something with a fader than with a compressor, if you're only trying to control dynamics and if it's practically viable. Master compression is definitely part of this.Ĭouple the above point with the fact that you can get the macrodynamics of your track fairly even with the use of automated faders. If you go to the right guy, the benefits of pro mastering include running your mix through gear which is much, much nicer than anything we're likely to have ourselves, which will impart a sound in your music which would be difficult or impossible to achieve otherwise. If you're getting your track professionally mastered, then all you need to do is work out what their part of the job is and then don't do that Or, I'll sample a really reverby drum break, with a long snare reverb, and then side chain all the transients out of that so it serves as a pumping reverb/atmosphere for the drums. Or, I'll just compress the groups 1 - 2 dB so they gel better together.Īt the end of a mix, I put an L2 or something on the master, and see what it'll sound like with 6dB gain reduction (!!) to prepare for bad mastering.Īnother thing I'll do for effect is aggressively side chain the drum reverb to the kick so it ducks, kind of creating a sucky pre-delay. I usually compress around 1-2 dB gain reduction on the master, making sure that the kick and snare are what is triggering the compression.īut I also create aux groups, of synths, vocals, drum top (not kick), and I'll side chain certain groups, if need be, to the kick or snare, if they aren't punching through properly, or if other frequencies are masking the snare in a dense mix. For me, more and more, it seems the key to great dance mixes for clubs is tasteful rhythmic compression.
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