![]() With that out of the way, standard compressors sometimes don’t work perfectly on an entire mix. If you’re unsure about master bus processing, consider leaving it out altogether and letting the mastering process deal with it. Keep your mix bus processing subtle and avoid processes that strongly affect the headroom of your track like limiting. In fact, it’s easy to do more harm than good if you don’t go in with a clear goal. To show how they can help I’ll go back to the example of compressing an entire mix.īut before we get too far it’s worth pointing out that processing a full mix like this can be tricky.Īpplying plugins to the stereo master track of your mix is a powerful technique that can make sweeping changes to the sound very quickly. You can use multiband compression anywhere traditional broadband doesn’t. This is just an example, but you can see how setting the compression differently for these three key frequency areas can give you deeper control. The high band would then take over and act on the rest of the frequencies in the signal. Moving up from there, the midrange band might extend up to about 3-5 kHz. You might set the crossovers on the lowest band to act on material up to 200 or 300 Hz. A typical setup involves three bands-one for the bass, midrange and treble frequencies. Multiband compression is an extension of this idea. ![]() Aggressive sibilance distracts listeners from the singer’s performance.ĭe-essers were designed to help engineers combat the effects of harsh sibilance.Ī de-esser is a compressor that only acts on the frequency band where the sibilance occurs.īy engaging the compressor and reducing the level only when the harsh ‘S’ sounds occur, you can tame the aggressive peaks that are most distracting to the listener. This sound is called sibilance and it can sound much louder than other elements of the vocal in a recording. The harsh ‘S’ sounds that can show up with certain vocalists or microphone types occur mainly in the sensitive 2.5kHz-8kHz frequency area. In fact, you might already be familiar with the most basic form of multiband compression-de-essing. Master a track.Ĭompressing frequency bands individually is one way to solve it. Our powerful, AI-driven mastering engine listens to your song and delivers pristine, studio-quality music that’s ready for release. If you’ve ever tried to compress a sound source with complex dynamics like an entire mix, you might have experienced the drawbacks of this approach. How multiband compression worksĪ traditional compressor applies the gain reduction effect equally to the entire signal. In multiband compression, you can usually choose how many bands are used as well as the frequencies of each crossover point. ![]() All it means is that crossover filters let you process individual frequency bands of a signal with separate settings. ![]() Crossovers are often used in loudspeaker design to separate ranges of frequencies for amplification by the type of speaker best suited to reproduce them. What is a crossover?Ī crossover in audio is a set of steep filters that divide certain frequency ranges in a signal for separate processing. ![]() You choose the threshold, ratio and attack/release settings for each compressor as well as the frequency range it will affect. If that sounds complicated, all it means is that a multiband compressor is like several compressors in one.Įach individual compressor only acts on a specific set of frequencies. Compressing individual bands with different settings provides more detailed control over the signal and allows the engineer to alter dynamics in specific frequency areas. Multiband compression is a form of compression in which individual frequency bands separated by crossover filters receive different dynamics processing. Multiband compression works in much the same way, but with a twist.Ĭompressors work by measuring the level of the input signal and turning it down whenever it goes above a set threshold. ![]()
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