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EQ/Compressor

The reason there’s no universal answer about which is better is because compression serves different purposes. Placing EQ before compression gives a more consistent level and increases sensitivity to certain frequency ranges. For example, if the EQ has a massive midrange boost, the midrange frequencies will go over the compressor’s threshold before other frequencies. Therefore, the boosted frequencies will be more subject to compression.

However, inserting compression after EQ also “undoes” some of the effect of boosting or cutting EQ. For EQ to have the greatest impact, insert EQ after compression.

Whichever processor is last in the chain has the final say over the sound. In other words, if EQ is last, it undoes some of the effects of compression. If compression is last, it undoes some of the effects of EQ.

Does that help?
 
nikkdust said:
In what order do you place them, and WHY?
Eq/c, c/eq, eq/c/eq
Just wondering, coz there is no wrong, I know that much.
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Listen carefully to the track. If it sounds good and everything is spectrally OK, then good. If not, adjust the equalizer and correct the sound. If you think the sound is acceptable, connect the compressor. Work carefully depending on the material. Do not compress too much, so as not to lose dynamics. Do not forget that at the output to the mixdown, you will also compress everything, most likely in the gluing mode. If after the compressor everything is good, great. If not, you may have to add an equalizer after the compressor.
If your track already sounds good from the very beginning, then immediately install the compressor, and then, if necessary, the equalizer.
In general, the process of processing the track depends on the quality of the source material. Sometimes you have to immediately put filters or something else ... it's not that easy to tell everything.
 
95% of the time I line things up in the order they would appear on a console. That seemed to have worked fairly well for quite a long time, and if it didn’t there were ways around it, just as there are in the software realm.

Something I was taught a very long time ago that might interest you: why not both? A compressor set with fast attack/slow release before eq, then eq, then another compressor set slow attack fast release after the eq can really offer the best of both worlds.
 
John Pihel said:
Listen carefully to the track. If it sounds good and everything is spectrally OK, then good. If not, adjust the equalizer and correct the sound. If you think the sound is acceptable, connect the compressor. Work carefully depending on the material. Do not compress too much, so as not to lose dynamics. Do not forget that at the output to the mixdown, you will also compress everything, most likely in the gluing mode. If after the compressor everything is good, great. If not, you may have to add an equalizer after the compressor.
If your track already sounds good from the very beginning, then immediately install the compressor, and then, if necessary, the equalizer.
In general, the process of processing the track depends on the quality of the source material. Sometimes you have to immediately put filters or something else ... it's not that easy to tell everything.
Click to expand...
Thank you, I'll take this with me.. really, thanks
 
Ken Morgan said:
95% of the time I line things up in the order they would appear on a console. That seemed to have worked fairly well for quite a long time, and if it didn’t there were ways around it, just as there are in the software realm.

Something I was taught a very long time ago that might interest you: why not both? A compressor set with fast attack/slow release before eq, then eq, then another compressor set slow attack fast release after the eq can really offer the best of both worlds.
Click to expand...
Ok, thanks... Interesting, with the two compressors
 
You might also consider looking into how multiband compressors work. They allow compressing individual frequency bands. And because you can vary the output level of each band, they have EQ properties as well.

Here's a good example of why multiband compression is useful. Suppose you're doing an EDM or hip-hop production where the kick drum in a drum loop is really strong. If you add heavy compression to the drums, then the kick drum will trigger the compressor and compress all frequencies, including the snare, hi-hat, cymbals, etc.

With a multiband compressor, you could restrict the multiband compressor's lowest-frequency band to just the kick drum's range. Then, you could compress the kick drum without affecting the other frequencies (or at least not affect them very much).

Multiband compressors are very useful on instruments with a wide frequency range like drums, pianos, and some synth/sampler sounds. I even use it on bass sometimes.
 
Craig Anderton said:
You might also consider looking into how multiband compressors work. They allow compressing individual frequency bands. And because you can vary the output level of each band, they have EQ properties as well.

Here's a good example of why multiband compression is useful. Suppose you're doing an EDM or hip-hop production where the kick drum in a drum loop is really strong. If you add heavy compression to the drums, then the kick drum will trigger the compressor and compress all frequencies, including the snare, hi-hat, cymbals, etc.

With a multiband compressor, you could restrict the multiband compressor's lowest-frequency band to just the kick drum's range. Then, you could compress the kick drum without affecting the other frequencies (or at least not affect them very much).

Multiband compressors are very useful on instruments with a wide frequency range like drums, pianos, and some synth/sampler sounds. I even use it on bass sometimes.
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Yeah. And sidechain's another story...
 
In addition to the good responses I'll throw this one out there which is another alternative. Not to replace the existing points because they're obviously all great. Consider a similar trait with Craig Andertons point about multiband compressors and get familiar with a dynamic equalizer. You can additionally side-chain compression and expansion bands as well! This will often key in on specific frequencies that you want to excite, or compress when honing in on specific areas. So think of compressor and EQ order in a more broad manner, and a dynamic EQ with fine strokes. You can still use the dynamic EQ in broad ways as well, like ducking bass or other tricks of the trade. Even with the aid of sidechaining all in one. It's just another option and another powerful one.

Studio One's own Pro EQ now incorporates dynamic processing (for a while now), and it is very good. Use it when opportunity knocks. Hint: Great with acoustic finger-picking, so that some frequencies excite, or problem frequencies are reduced. Maybe you want a little bit of both. Maybe you want those frequencies to dance. Great with vocal issues as well.

Correction: I thought Craig was referring to Studio One's Dynamic Compressor. My apologies, as he was speaking on multiband compressors on a whole. This being the same dynamic EQ/Compressor I was describing within Studio One's own Pro EQ which now delivers on multiband compression.
 
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Cool. Nice review on the Anteres dual compressor on Mixonline. (Mix mag).

www.mixonline.com

Antares Auto-Tune Vocal Compressor – A Mix Real-World Review

By Mike Levine. Antares aims its vocal-software expertise at the crowded and competitive compressor market—does it succeed? Find out!
www.mixonline.com


Overall, FWIW. (According to Mix)
PRICE: $179 (perpetual license, includes one year of Auto-Tune Unlimited); $174.99/year as part of Auto-Tune Unlimited Subscription.
PROS:
• Handy two-stage architecture.
• Assist feature provides “intelligent” settings.
• Three vintage compressor emulations included.
• Modern module offers transparent operation and sidechain access.
• Auto-Tune Pitch Filter ducks other tracks based on a vocal’s pitch.
CONS:
• Can’t hear Assist settings until you hit Apply.
• Assist settings often include too much gain reduction.

___________
Note Mix, and just a few others music product review specialists are quite hard on products and make such reviews better than other reviewers. Something I always praised Keyboard magazine for!
The Anteres Dual Compressor looks very good. On the same token, the stock Dynamic Multi Compressor, Compressor, and Pro EQ within Studio One do an excellent job! (at no extra cost). It's typically the operator, than the equipment that will ooze out, or obtain the best results. Just saying. Not trying to underscore the results of other worthy products. 👍

Over any AI, let your ears do the thinking.
 
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When I want subtle, glue-type compression, I often use two Compressors in series that are set for very little gain reduction. Give this a try:

1. Insert two of the PreSonus Compressors in series. These instructions are for master bus processing if you're into that kind of thing.
2. For both compressors, set the parameters as shown in the screen shot.
3. Loop the loudest part (important!!) of your song. Turn down the first Compressor’s Threshold so that the Reduction readout below the output meter shows -1.0 dB. I know it's a temptation to have more gain reduction, but avoid the temptation.
4. Continue looping the song. Adjust the second Compressor’s Threshold so the Reduction readout below the second Compressor’s output meter shows around -1.0 dB. Again, don't go much over this, if at all.
5. The Makeup Gain parameters should be correct with gain reduction amounts around -1.0 dB. If you need to increase or decrease the output level, adjust both Makeup Gain controls by the same amount.

When you bypass the FX Rack, you might be surprised how even this slight amount of gain reduction makes a difference with the dual compressor settings. I hope this is helpful.

1740119568320.png
 
This sounds very sensible to me. I am keen to give this a try. SSL were giving away free for a while their mastering grade compressor too. I have also heard of putting two in series one with a high threshold fast attack limiting function and the second with a slower attack more graceful action. Whenever compressors are working super light the sound is always bigger to me.
 
You'll like it Jeff. Vary as needed for the material and very much as Craig outlined works well. EQ in all it's importance is key, but compressors (particularly in series), is where the fun begins. Especially when you want certain elements to dance (dynamically). Release is also ultra sensitive and two compressors in line can really make a mix. Try them with cymbals as a for instance when the material lends itself. But you'll find many uses, I'm sure.
 
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