Home » The PARIS Forums » PARIS: Main » Global Master compressor limiter
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| Re: Global Master compressor limiter [message #89110 is a reply to message #89099] |
Mon, 20 August 2007 22:44   |
erlilo
Messages: 405
Registered: June 2005
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Senior Member |
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It's allways a good idea to also testlisten to as low as possible
volume when mixing, just to hear that everything is OK there too. For
the most I'm using different kind of headphones too, to sort out that
things work OK with different kind of volumes. It's also normal that
energy is missing in low volumes.
I remember old stereoamplifiers often had an on/of knob called
"Loudness", to get more energy in both low and high end when
listening at low volumes, just to take care of that problem. You can
look here to get some more info: http://en.wikipedia.org/wiki/Loudness
Erling
On Mon, 20 Aug 2007 12:22:20 -0700, "Wayne Carson"
<carson_wayne@msn.com> wrote:
>Hi all,
>
>I just finished mixing a 12 song CD for my band leader. It's covers and
>used for promo.
>
>The mix is thick and warm and open (depending on the tune) at mid or higher
>playback levels on many systems. The band digs it but at low volumes the
>mix loses it's presence.
>
>I'd like some feedback on how to compress and limit the final stereo mix
>within Paris using the global EDS stereo compressor and NoLimit. I put a
>minimal EDS stereo compressor (smooth 2:1 setting patch) and NoLimit on the
>global inserts final mix (bounce to disc) just to catch spikes and bring all
>levels to -1.0 db initially.
>
>All mix's are balanced for the CD. I just need to know how to compress or
>limit to get the mix's presence popping out at a lower home/car stereo
>volume.
>
>Do I squash it with NoLimit or are there general settings for a stereo EDS
>compressor that I can start with, ie, attack, release, ratio? Do I run the
>threshold for a constant compression or just on kick or vocal or horn hits?
>I do realize I will sacrifice some tonality but since it sounds so good open
>I think I can find a mid point between the open mix and a radio ready
>heavily compressed sound that will have presence at any volume. Any takers?
>
>BTW - FYI - BIG BEN - initially I hooked up the BB out to the MEC clock in
>and terminated (75ohm) on the MEC clock out. This did not terminate
>correctly accordingly to the tell-tell lites on the BB panel, but I ran
>Paris this way for a week and thought I heard a difference. When I removed
>the MEC clock out termination and placed a BNC-"T" on the MEC clock in and
>put the termination on the "T", the BB panel lites then showed proper
>termination. Believe it or not . . . I heard the difference this time.
>Very stable sound. Tight and clear and open. This is definitely the Paris
>sound we all appreciate.
>
>Thanks,
>Wayne Carson
>Paris since '97
>
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| Re: Global Master compressor limiter [message #89113 is a reply to message #89099] |
Tue, 21 August 2007 06:05 |
mikep[1]
Messages: 27
Registered: July 2007
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Junior Member |
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Wayne,
Using the NoLimit to "squash" the mix is not a good idea, if you like the
dynamics.
A better idea would be to use a stereo compressor first to get a little louder
avaerage volume then add the limiter to control the transients.
To do this:
First find the dynamic range of the mix by looking at your master meters.
The point where the levels sit consistantly is the average volume, the point
at which the song peaks is obviously the peak volume. The difference between
the two is the dynamic range of the mix.
EX: if the average is -15dB and the peak is at -1dB then you have 14dB of
dynamic range.
Second, set the compressors threshold just over the average volume, let's
say for our example -14dB.
Then set a low ratio, usually I'll start around 1.5:1.
The set a medium attack, around 40-50ms.
I like to start with a release of about 100-150ms.
Look at your meters to see how much gain reduction is occurring and add that
same amount of gain to get back the volume.
Obviously this will not work for every mix, so listen and make adjustments
as you see fit.
If you want the squeeze it a bit more, quicken the attack and raise the ratio.
Or, if this is too much compression, raise the threshold or slow the attack,
or both.
After the compressor, use the NoLimit to control the peaks and to get the
overall volume you desire. I like to get about 3dB from the NoLimit.
Good Luck.
"Wayne Carson" <carson_wayne@msn.com> wrote:
>Hi all,
>
>I just finished mixing a 12 song CD for my band leader. It's covers and
>used for promo.
>
>The mix is thick and warm and open (depending on the tune) at mid or higher
>playback levels on many systems. The band digs it but at low volumes the
>mix loses it's presence.
>
>I'd like some feedback on how to compress and limit the final stereo mix
>within Paris using the global EDS stereo compressor and NoLimit. I put
a
>minimal EDS stereo compressor (smooth 2:1 setting patch) and NoLimit on
the
>global inserts final mix (bounce to disc) just to catch spikes and bring
all
>levels to -1.0 db initially.
>
>All mix's are balanced for the CD. I just need to know how to compress
or
>limit to get the mix's presence popping out at a lower home/car stereo
>volume.
>
>Do I squash it with NoLimit or are there general settings for a stereo EDS
>compressor that I can start with, ie, attack, release, ratio? Do I run
the
>threshold for a constant compression or just on kick or vocal or horn hits?
>I do realize I will sacrifice some tonality but since it sounds so good
open
>I think I can find a mid point between the open mix and a radio ready
>heavily compressed sound that will have presence at any volume. Any takers?
>
>BTW - FYI - BIG BEN - initially I hooked up the BB out to the MEC clock
in
>and terminated (75ohm) on the MEC clock out. This did not terminate
>correctly accordingly to the tell-tell lites on the BB panel, but I ran
>Paris this way for a week and thought I heard a difference. When I removed
>the MEC clock out termination and placed a BNC-"T" on the MEC clock in and
>put the termination on the "T", the BB panel lites then showed proper
>termination. Believe it or not . . . I heard the difference this time.
>Very stable sound. Tight and clear and open. This is definitely the Paris
>sound we all appreciate.
>
>Thanks,
>Wayne Carson
>Paris since '97
>
>
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