Drum Group vs Track Copmression

[Trebor Flow 2]

What’s the difference between individual track compression on Kick, Snare and Toms as opposed to an overall compressor on a drum group.

My thinking has been that a drum group compressor interacts differently, as a Kick hit will affect a cymbal hit or ride etc.

Do some people use both track compression and Drum group compression (baring in mind I also use a touch of SSL style Mix Bus Compression as I mix (ALA Charles Dye MILAR)

Oh I also have been trying Voxengo Tapebus on the Drum Group – which actually gives a nice tape emul.

Any feedback would be really appreciated

Trebor

 

[Akis]

I apply individual track compression on drums mostly for shaping the sounds: giving a punchy attack etc. I use TapeBus as well for that glueing effect on the drum bus (makes the drums feel more like a drum set than a bunch of individual drums; dunno if it really sounds like tape, though) and then I also use parallel compression (a pre-fader send of the drum bus to a compressor, usually 1176LN) and mix to taste.

No mix bus compression here.

 

[jcat]

I use various types of compression.

Some times as an insert on individula tracks, sometimes on a send to create power without loosing transients. And then always on the group as well, I'll use something like the Fairchild or the PL, or both.

It really depends on the material, and learning when to do what is something that will come as your experience builds...



Cheers,

jcat

 

[Trebor Flow 2]

Hey Akis thanks

Yeah, I think I'll do similar ie individual track compression then tapebus on the group and I'll stick that SSL listen Back comp (or 1176) on the AMB room mics and bring a bit back into the mix (kinda like NY comp)

As I use a Stereo Bus Comp when I mix I won't bother with a drum group compressor. Voxengo Tabebus really is very very good (clever that Aleksey) I'm very chuffed with it - bit of a bargain really.

I've actually started using my Sony Inflator on my stereo bus as well - I mix into it from the get go.

I have set it up so that the effect is very subtle (just lighting one or two bars on the FX meter) I'm aiming for analog console saturation kinda like McDSP AC-1 and it really works very well - between the Sony Inflator and Tapebus on the drum group - my mixes have reached a new level of \"analog\" quality.

Trebor

 

[Trebor Flow 2]

Thanks jcat

That's helpful too.

Trebor

 

[geekeye]

i usually use the 1176 on individual tracks that need their envelopes reshaped, then the la2a to glue the drum sub-mix together, and the final stereo mix usually goes out to my hardware compressor (tfpro p5) to add warmth before coming back into the computer for limiting.

 

[s_sibs]

Trebor,

I usually compress drum tracks indivdually with either a 1176 or a LA-2A. I'm also not afraid to track snare with my hardware 1176 going in either. I like to get a sound I like before I record it as often as I can.

When mixing I'll send drum tracks to a bus and compress with either a 1176 or a Fairchild. It really depends on the type of music or style. I've found the Fairchild knocks alittle low end out of the kick. This is great on some songs where I want the bass guitar to sit under the kick.

I also use a mix bus compressor on the overall mix - and Avalon 747 with the tube path engaged.

-Scott

 

[Eurocide]

I also use a mix bus compressor on the overall mix - and Avalon 747 with the tube path engaged.

-Scott

Ahh! Good to see another 747 user. How do you "tame" the compressor of the 747? I just can only use it for envelope shaping, but for compression to increase perceived loudness I found it not so useful. What's your expereience?

(sorry Trebor for hi-jacking the thread)

 

[s_sibs]

How do you \"tame\" the compressor of the 747? I just can only use it for envelope shaping, but for compression to increase perceived loudness I found it not so useful. What's your expereience?

When using the 747 as a mix bus compressor I make sure to set it for a medium attack and pretty fast release times. I rarely set it for much higher than a 2:1 or 3:1 ratio. The pretty blue light shows compression much of the song but the VU meter doesn't get much higher than 1-3 decibles of gain reduction. I have wound it up a bit on heavier tracks like punk and metal and it does seem to increase loudness, although, like any compressor the higher ratios do pump.

That said, the 747 isn't as good at making things \"loud\" as a good mastering limiter like a Manley vari-mu or the UA Precision Limiter.

The best thing I've found about using the 747 is how much the tube path opens the sound of the track. The highs sound better without sounding harsh and the low end sounds extended without sounding flabby. I keep telling myself that I'll only use the tube path when I \"need\" to but it seems like its all the time

 

[boody]

It depends on what you want to acomplish I think. The reason you want to process a part of a kit isolated is that you're not satified yet with the sound. For me that means isolated parts combined with the whole set on a bus, but that's because my recording space is very small, so I never get the sound i want immidiatly. The hard part is not to overdo it and only process the thing you realy like to see changed. Experimenting is great, but to know what you want to acomplish and to make a strategy on how to do that is a very important aspect of mixing (or anything else you want to be succesful with, really :wink: )

cheers
Budy

 

[Trebor Flow 2]

Experimenting is great, but to know what you want to acomplish and to make a strategy on how to do that is a very important aspect of mixing (or anything else you want to be succesful with, really )

Yes this is very true.

Thanks for all the excellent replies

Trebor

 

[aevan]

MOst of my drum compression is in parallel - that is to say I have a track of uncompressed kick,and a copy of the same track compressed heavily and mixed back in with the original. Do the same with snares and toms.
I often have a slow release compressor on the overheads to extends the cymbal decays. I also use a stereo compressor (I have a valve outboard one I use for this,but if not I would use the 1176 plug with the all button in mode) hooked up to a send and send the whole kit to it. Again I squash the crap out of it and mix it back in with the original kit.
I use a send for this so if the kick/cymbals etc is triggering the compressor too much I can adjust the balance of the drum sounds I send to the comp without affecting the balance of the original kit in the mix. Should mention the sends are in pre fader mode and if using plugins watch out for latency/phase issues. This method gives you the punch/presence but still allows you to hear the transients/dynamics of the performance.