I know i know i did an awful mistake and am extremely sorry ! I promise it will never happen again on this forum and everywhere :)
Nonetheless my remarks about this tutorial worth to be read ...
The non-use of compression could feed an interresting discussion.
I've read also an interview of Bruce Sweeden (Michael Jackson's sound ingeenier) on gearsslutz forum where he's talking about compression.
Here's what he says :
Originally Posted by lawrence_o
So if you're not using compression, or not a lot, I can imagine you'll be having a lot of dynamic range in your mixes. How do you deal with that on the mix-bus?
I mean, do you put a limiter on it, a bus-compressor (if so which one?)?
Or do you just record it a few dB from the max and let the mastering engineer do whatever he wants tih it? If so, do you tell the M.E. then "No maximizing! No heavy limiting on my tracks!"?
When my mixes go to the mastering room, they don't need much. They are ready!!! Of course that sounds a bit egotistical, but I always strive for that...
If you can, ask Bernie Grundman...
I'm sorry, but it sounds to me like you are listening to what your pals tell you to do! All that compression and limiting is ABSOLUTELY UNNECESSARY!!! It only minimizes the drama of the music!!! At least that's what I think....
If you don't allow those transients to live, you are destroying the most dramatic element in "Pop" music!!! Here's what I am talking about....
I am frequently asked to define transient response, as it applies to music recording. Here are some of my toughts on this very important subject.
First letâ€™s try to define the basic issue.
A- Transient response in electronic recording equipment, is the ability of a device or electronic component, to handle and faithfully reproduce sudden waveforms called transients. A transient is a short duration, high level sonic energy peak, such as a hand-clap ot snare drum hit. Any sound source in the percussion family requires excellent transient response in the recording equipment to sound real.
B- To me, a sound transient is the steep wave-front of the sound. In other words, the transient of the sound is the first impact of the sound before the sound falls and begins to decay, or die.
Good transient response is especially important when recording acoustic instruments. This is one case where itâ€™s extremely important for one to have equipment that is able to capture as much of the initial transient as possible, and all itâ€™s accompanying delicate details.
In the music that I am normally involved in, I have always felt that good transient response is one of the very most important components of the recorded image. I would even go so far as to say that transient response has at itâ€™s core a direct relationship to the emotional impact of a recording. Particularily in the main genreâ€™s of music that I record.... namely R & B and â€˜Popâ€™ recordings.
Faithful recording and reproduction of sound source transients make the strong rhythmic elements of music much more dramatic. These are the elements that are so important to R & B and â€˜Popâ€™ recordings, such as the â€˜Kickâ€™ drun, the â€˜Snareâ€™ drum, hand-claps, percussion...etc.
I think that well recorded transients give R & B and â€˜Popâ€™ recordings a feeling of tremendous energy.
To me, compression and limiting diminish the drama of sound source transients in recorded music. Along that same line of thinking, I should also point out that I am not a big fan of over-compression and over-limiting anywhere during the recording process.
To me, when R & B and â€˜Popâ€™ recordings are over-compressed and over-limited they lack the extemely fundamental qualities of both primitive energy and smooth high-frequencies.
The reason that over-compressed and over-limited recordings lose high end energy, is that much of the sound energy in a recording is concentrated in the lower frequencies. These low-end signals will negatively influence a wide-band compressorâ€™s operation, causing higher frequencies to be attenuated during peaks in level, making the music sound dull and lifeless.
Personally, I love transients and what they do to dramatize music. let them live! If a recording is over-compressed, it will always be over-compressed. In other words, it will sound dull and lifeless forever!
I thought it could be interresting to read it ...
Olivier aka OB.one