EQ Magazine - August 2008 - (Page 32)

DRUM HEADS ROCKING HARD WITH BUS COMPRESSION implementing the compressor. If you’re working completely in the box, you can simply add a plug-in compressor to the subgroup track. If you’re using a standalone, stereo hardware compressor, you will need to either insert it into the master buses, or send the master buses’ outputs to the unit and return the processed signals to two channels. Whether you’re using software or hardware, you’ll want to use the compressor in stereo mode (see Figure 1) to avoid any undesirable pingpong effects within the stereo field. Stereo mode tells the compressor to treat both sides the same when the threshold is broken on either channel. This way, louder sounds panned to either side won’t get compressed while the other side is untouched. Again, while there is no right or wrong in applying compression, you should understand your compressor—and how it will affect your drum sound—before you start twisting knobs and pushing buttons. I like using a fast attack, as this allows the compressor to clamp down on the transients of the drum strikes. Compressing the smack of the drum fattens the tone the way tape compression does, because Fig. 2. This Waves L3 Ultramaximizer setting was used on a drum submix. Note the higher threshold setting, which produces less compression. Get the drums sounding the best that you can before you create the submix. you are pushing down the loudest part (the transient), and getting it closer in volume to the room tone. This creates more headroom (because the loudest part has been compressed), which therefore allows you to turn the signal up with the makeup gain, emphasizing more of the body of the drum and the tone of the tracking room. If you’re using a fast attack, I also recommend using a medium to fast release. Once you’ve manhandled the transients, you don’t want the com- pressor to hang out too long and squash the body, as well. In fact, you can actually thin the sound out if you compress too much of the signal. Slower releases can be more useful when parallel processing, because the “over-processed” sound is really more of an effect that you’re blending with the original tracks, rather than a final drum sound. Lower compression ratios and higher thresholds can help you create your desired effect without making things sound too processed. Try somewhere between a ratio of 2:1 and 4:1, and a gain reduction of 2dB to 4dB. That being said, certain mastering limiters (with inherently higher ratios) could be effective when used sparingly. For example, the Waves L3 (see Figure 2) can help create a very thick drum tone if you don’t overdo it. For a more exaggerated, over-compressed sound, higher ratios and lower thresholds with more gain reduction are the way to go, as this heavyhanded approach can be very effective when parallel processing. Keep in mind that a compressor’s parameters greatly influence one 32 EQ AUGUST 2008 www.eqmag.com http://www.cadmics.com http://www.cadmics.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - August 2008

EQ Magazine - August 2008 Contents Talk Box Sounding Board Lyrics Born, Fink, David Kahne on Working with Paul McCartney, What a Future with no Record Industry looks like Tool Box ?uestlove Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Cakewalk Sonar 7 Apple Logic Pro 8 USM Mic Round-Up USB Mics Chameleon Labs 7720 Sounds Room with a Vu

EQ Magazine - August 2008

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