The emotions embedded in the dynamic range of the music get destroyed. Once you get acquainted with the basics, try something advanced. You can’t always expect the best results with only a slow attack time. Over-compression can be a FATAL mistake for your mix. It’s only playing for a limited time – we’re always updating the site and this could get removed soon. You’ll know the ‘right amount’ of compression if you have a direction while mixing. If so maybe you were using the wrong compressor. Dynamic variations have a whole lot of influence on the energy and emotion of the song. I mostly listen to electronic music and mostly older tracks now since almost everything new is totally squashed lifeless. Instead, it’s a smooth block. It’s a good idea to depend more on your ears than your eyes while mixing. Often this shows the compressor has worked so hard on the track the waveform has started to even out. Best DAW 2020: Which Digital Audio Workstation Works Best For You? But you’re not so sure about the attack time. As a mixing engineer, the best way to learn is to experiment. If so, then you’re going to love this new free masterclass. Also, not everything requires salt. And that’s fine! Medium is 5–20 ms, and anything above 20 ms is slow. The waveform has no peaks and valleys like a natural sound wave would. How to Master a Song at Home (in 14 Easy Steps), A compressor helps us to manipulate the dynamic range of the track, Here’s a great rule of thumb by Ian Shepherd, https://musicianonamission.com/wp-content/uploads/2018/12/Vox-ORIGINAL.mp3, https://musicianonamission.com/wp-content/uploads/2018/12/Vox-COMPRESSED.mp3, https://musicianonamission.com/wp-content/uploads/2018/12/Vox-OVERCOMPRESSED.mp3, https://musicianonamission.com/wp-content/uploads/2018/12/AG-ORIGINAL.mp3, https://musicianonamission.com/wp-content/uploads/2018/12/AG-COMPRESSED.mp3, https://musicianonamission.com/wp-content/uploads/2018/12/AG-OVERCOMPRESSED.mp3. If so, then you’re going to love this new free masterclass. All good in theory. Now here’s a fact that may change your perspective about compressors. An over-compressed track looks like a rectangular block in meter/graphs. Professionals argue that at times meters are not completely accurate. Whether you want this depends on your music. Using a compressor on your tracks is exactly like adding salt to your food! Inside, you’ll learn the only 7 steps you need to go through if you want your mixes to sound professional. A limiter is an extreme type of downward compression. Loud and soft sections sound similar. His taste in music is deeply influenced by artists such as King Crimson, Genesis, Renaissance, etc. A lot of new compressors have an inbuilt option for parallel compression. Mixing continuously for hours can easily wear down your listening skills. For instance, you wouldn’t want your compressor to be working too hard while mixing jazz, since its a more “natural” genre. Because each compressor doesn’t have to work as hard, serial compression helps your compression to sound more natural. Your email address will not be published. Mixing engineers should be aware of traits particular to their genre. Don’t do it all with a single compressor. Want your mixes to sound pro? Start out with just these three settings (fast, medium, and slow) in mind. And every … This next trick can bring about a huge difference in your mixing skills. There are always exceptions to the rules of mixing. Learn how to use your time more efficiently in this free training video. Use compressors in series. Today you’ll learn what over-compression sounds like and how to avoid it in your mixes. Faster attack time adds thickness to a track. Over-compression can be a FATAL mistake for your mix. The attack time is a little trickier. The emotions embedded in the dynamic range of the music get destroyed. Why Is It so Easy to Fall for Over-Compression? In most cases, if it goes above 6 dB it’s a sign of trouble. Inside this new free masterclass, you’ll learn the secret to making radio-ready music at home. Both downward and upward compression reduce the dynamic range of an audio signal. But it can also cause serious damage by chopping down important transients. With this new approach, you’ll know exactly where to spend your time and energy. So in very basic terms, imagine compression as if someone has control of the gain knob and can turn it up whenever the sound gets too quiet or down whenever it gets too loud. Log in. So, if you want a shortcut to pro-quality mixes, watch this free masterclass now: But if you just want to learn all about over-compression specifically, keep reading. Same goes with most other stuff too, I guess. Over-Compression Sign #3: Constant Compression, Over-Compression Sign #4: Peaks and Valleys. Using a compressor on your tracks is exactly like adding salt to your food! Even if it’s a tiny amount. You can’t learn to compress properly without learning what over-compression sounds like. Make sure to keep an eye on the gain reduction meter. This results in a feeling of lifelessness in a mix. The average listener might not be able to hear over-compression, but that’s not the point. Now that you’ve learned what to look for in over-compression, see if you can spot the signs in these audio examples.