METAMORPHOSIS
Sep 1, 2007 12:00 PM, By Doug Eisengrein
Take compression to a new level by expanding its use to effects processing.
Compression most commonly falls into the dynamics processing — not the effects — category. Most often, compression clamps down on signal peaks and generally reduces the dynamic range of signals. It is often applied at various conjunctions within studio and live music-making processes, from initial tracking to mixing and mastering; it's used on individual tracks and entire mixes. Yet despite the ordinary utilitarian role that compression plays, there are hidden pockets of creativity to discover. While I generally subscribe to the “less-is-more” rule with dynamics processing, let's kick that notion to the curb and explore a few creative ways to deliberately use compression as an effect.
Compressors aren't all the same — not even close. There are different makes, from solid-state and tube to plug-in, as well as opto or FET types, peak or RMS operational modes, etc. Compressors bear distinctive sonic responses, characteristics and “colors.” Second, you may have access to a sparse few controls or many. For example, the high-end classic Universal Audio LA-2A sports a front panel with only two knobs for peak reduction and gain, while the budget-minded Behringer Composer Pro includes knobs and buttons for threshold, ratio, attack, release, output and more. Moreover, you'll need to adapt ideas presented here and elsewhere to match the compressors at your disposal.
SWEEPS AND VALLEYS
If you are a house or trance head, or just like to experiment, this one may be for you. Apply very light compression on a single track, such as a synth lead or pad, rhythm guitar or square bass. Using both hands, slowly lower the compressor's threshold while raising the ratio, and then perform the reverse action. The effect is somewhat similar but subtler than a classic filter sweep, yet because the effected track's volume is likely to be altered, it should be obvious nonetheless. Apply that to entire mixes in a live set in the same way a DJ manipulates EQ bands to accentuate builds and drops, or try it in the studio on individual standout tracks to inject a wah-wah—like effect to synth or guitar lines. I always suggest applying such things post-tracking so you can experiment with various versions without trashing an original take.
If you have a parametric multiband compressor in your bag of tricks, then you're probably familiar with this idea, but now I want you to overdo it. Set all but the highest band to apply no compression at all, but set moderate-to-heavy compression on the treble band. Raise the crossover frequency to 20 kHz or higher, if possible, to initially keep it out of audible range. Then, at a point in the track where it seems appropriate, pull down the crossover in real time and sweep across the frequency spectrum from high to low. This is a different take on the filtering effect presented above, but it will surely sound distinct. You can try this out in a few different ways, such as starting low (below 20 Hz is recommended, again to keep it out of range at the start) and sweeping up. If you can apply automation or have a partner work a second set of knobs, try starting from both ends of the spectrum, meet in the middle and then reverse, or cross over the middle to accentuate the effect even more. If possible, do several dry runs to ensure that the overall volume isn't adversely affected. I highly recommend starting at low monitoring levels to make sure you don't overload your speakers or amps.
MAKE IT PUNCHY
An obvious but oft-overlooked idea is the deliberate use of a compressor's Bypass function. This can be particularly useful in the case of less-dynamic individual tracks that are compressed to generally highlight out in the mix (rather than to tame loud attacks). For example, if you are using compression on a drum machine's kick, find a softer spot in your song where it is interesting to drop the kick for a few measures and punch the bypass on the beat. Depress the bypass again in time with the beat when you want it to kick (uh, pun intended) back into high gear. If you like this idea but don't have a compressor with a bypass, you can run duplicates of the same track — one playing back dry and the other through the compressor. Keep the dry track muted from the start, and on cue, un-mute it while muting the compressed track. Timing is more critical in this case, but the effect will essentially be the same.
TURN UP THE HEAT
Back in the day, before the control-freak era of superfast digital processing, outboard compressors employed resistors, incandescent bulbs and vacuum tubes soldered into their circuits to get the job done. But — to the delight of some and the chagrin of others — they also painted signals with their distinctive colors. As any self-respecting electric guitarist knows, tubes can be a wonderful source of distortion. If you have a tube compressor, think of it sometimes as a stompbox rather than just a “nice, warm compressor.” Overdrive that puppy hard until the tubes glow and the top of the unit gets toasty-warm. You can run just about anything through that depending upon the scope of the project: vocals, bass, brass, electric piano and guitars. Tubes (and analog circuits in general), however, are chameleons. Even with neutral settings, the tone imparted will change as the tubes warm up — allow them time to do so for optimum results.
While not everyone can afford a Manley, Avalon or Universal Audio box, there are plenty of nice, affordable tube compressors out there for the lower-budget clan. Every studio, whether churning out chunky British rock or mathematically precise German IDM, should employ a tube compressor or two in its arsenal.
For more compression basics and tips, check out the first two “Phantom Power” columns from Remix March 2003 (www.remixmag.com/mag/remix_sonic_squeeze) and April 2003 (www.remixmag.com/mag/remix_more_or_less), and the “Cold Compressin'” feature from June 2007 (www.remixmag.com/production/tips_techniques/compression_settings_tips).
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