KVR Audio

lightsfadelow · Post by **lightsfadelow** » Tue Dec 22, 2009 5:33 am

Is there a guide I can read that explains when to use single-band versus multiband compression? From what I understand, single band compression is best used on tracks and can glue together busses. Multiband is best used for full mixes. But I'm sure that's overimplifying and maybe even wrong.

I typically buss groups of instruments (drums, keys, orchestra, background vocals, etc.) into busses. And I always use dynamics control on each buss. Almost always single band compression and limiting. But I'm wondering if some kinds of busses require multiband compression or limiting.

Any advice or pointers to simple guides would be greatly apprecited.

Kim Lajoie · Post by **Kim Lajoie** » Tue Dec 22, 2009 7:16 am

Generally speaking, multiband compression is overhyped - it's actually not as useful as the internet will have you believe.

More specifically, see this:

http://kimlajoie.wordpress.com/2009/06/ ... mpression/

And more generally:

http://kimlajoie.wordpress.com/tag/compression/

Let me know if that doesn't satisfy you.

-Kim.

djanthonyw · Post by **djanthonyw** » Tue Dec 22, 2009 7:19 am

Single-band compression on individual channels if needed, multi-band compression on the master channel if needed. I tend to use a Multi-band compressor almost like an EQ on the master.

Rathead · Post by **Rathead** » Tue Dec 22, 2009 8:57 am

Multiband compression is definitely a horse for a course.
I have found it very useful for tidying up 'found sounds' for my audio collages, as well as mastering for systems with limited bandwidth and dynamics, such as the systems typically installed in galleries and public spaces.
Apart from deliberate effects, a good mix shouldn't need it on master and I can't imagine why you would want to use it on a track during mixing. If your track needs multiband compression, you might want to look at the mix again....

anfmusic · Post by **anfmusic** » Tue Dec 22, 2009 10:38 am

You are right, generally use single band compressors on channels and busses, and use multi-band compressors on mixes. Each individual instrument has one prominent frequency band and this main band is what you are working with when applying compression to individual instruments, so a good single band compressor will suit you just fine. The same goes for busses/stems, as busses, in general, are used to group like sounding instruments all occupying the same frequency range, and again a good single band compressor will serve you just fine.

For mastering I prefer a good 3 or 4 band multi-compressor and the main reason for multi band on the final mix has to do with the content of the mix you are working with. Multi-bands are very useful when used properly! Multi-bands come in handy especially when I'm mastering another Engineers work, which is often the case. As an example, when the dance or hip hop guys bring me their mixes to master, they are generally, extremely bass heavy! If I used a single band compressor on something like that, the dominant bass frequencies would determine when the compressor triggers into gain reduction mode, therefore effecting the entire mix (mids and highs); and that is not what you want! So commonly, I'll find myself using a 4 to 1 ratio on the bass band and a 2 to 1 ratio on the remaining 3 or 4 mid to high bands. But by treating the bass band with its own separate compressor, it preserves the mid and high frequency ranges; as I do not want those frequency ranges kicking into compression because of an over hyped bass mix...AL

napalmbob · Post by **napalmbob** » Tue Dec 22, 2009 10:59 am

I generally use very little compression at all. A compressor is designed to limit the range of the dynamics and is really only useful when you have recorded something (like vocals or guitar) that needs some flattening out. Mostly I just use a transient shaper to alter the attack on a snare (for example) and then use some limiting on the master out to add some volume as I go straight to mp3 and upload to the net.

If you are creating all the sounds from scratch or using samples then you have the ability to fine-tune everything without resorting to tools like compressors and such. I think alot of people have gotten into making music without learning all the basics and now just turn to a tool (like compression) to fix something instead of going back to the actual problem and fixing it properly. Multi-band compression was invented so engineers could fix dynamics across an entire track they had to master but didn't have the stems of.

But with all that said, experimentation and innovation is what makes music interesting and pushes it forwards. And taking a tool designed for one purpose and bending to another has given us some amazing sounds and techniques.

kritikon · Post by **kritikon** » Tue Dec 22, 2009 11:20 pm

I think it basically boils down to loudness. Very few will admit it, but you can make msuic far louder with a multiband than with single band. There are some good uses for multibands, but the majority use them simply for squishing their tracks more than is possible by a single band comp without killing it. The so-called loudness war coincides with the advent of cheap and easy plugins and the prevalence of DAWs - making multibands far more available than they ever were (have you seen the price those TC Finalisers used to go for back when there were very few multibands available?). The boffins will come up with all kinds of fancy things you can do with multiband comps (and they're right) but I still suspect the majority of useage is simply super-duper squishing.

So it boils down to how loud you want your music. If you want it very loud, you're almost obliged to go for a multiband. As it's bass that most easily triggers a comp, you can squeeze the life out of everything else that much more easily if the bass is filtered out of the trigger circuit. As for channel useage - there aren't that many things that multibands are crucial for.

And as far as multibands go, I don't see much point in more than 3. One to get the bass out of the way. One to do the high frequencies (as they are easily heard if distorted by too much clipping), then the middle to squash the bejeesus out of everything that's musical.

lightsfadelow · Post by **lightsfadelow** » Wed Dec 23, 2009 2:20 am

Ok, I read Kim's articles and also the other replies here and I think it comes down to multiband = mix, single band = track/buss. More specific to my case, it seems like folks are saying that multiband compression or limiting is mostly used to "fix" a problem in the mix at the mastering stage.

But since I'm talking about how to use compression *in* the mix, it seems it has almost NO place in the mix itself since I can be surgical about where to put the single band compressors.

The only time I can imagine using multiband compression given this info in my specific case would be if I'm using premixed loops in my songs. If, for example, I have a loop of a whole drum kit and I want to make just the kick more prominent, or take down the crash or something.

Random: In my most recent song, Fly (http://www.acidplanet.com/artist.asp?PID=1295760), I actually fed the whole mix first through a multiband limiter and then a gentle curve in a single-band compressor in the end to glue it together and provide a bit more volume leveling. (FWIW, I'm still playing with the high end a bit on this song; in my prior version the highs were too flat... now they sound a bit harsh depending on what system I listen to it on... gotta love those Mackie HR824 monitors

)

matt42 · Post by **matt42** » Fri Dec 25, 2009 2:52 pm

Another option for a bass heavy mix is to stick to a single band compressor, but with an internal side chain filter to reduce sensitivity to the low frequencies

v1o · Post by **v1o** » Fri Dec 25, 2009 5:13 pm

Was speaking to some Mastering Engineers. Apparently Multi-band compression is over hyped and is almost never used in day to day mastering. You will only ever have to use it when its absolutely required.

So I think its better utilized as a specific effect when producing tunes.

anfmusic · Post by **anfmusic** » Sat Dec 26, 2009 1:41 am

Not sure who you are talking to as far as mastering Engineers; but multi-bands are continuously used! I use them with everything I master, and I have worked with and learned from, some of the best Engineers in the world; trust me, they are used extensively!

Rathead · Post by **Rathead** » Tue Dec 29, 2009 7:36 am

Greetings.
Apart from its use as an effect (go for it, have fun, see what you come up with) multiband compression has other uses too.

As I said above, in my own case I use it for cleaning up 'found sounds', over whose spectral and dynamic characteristics I have no fundamental control.

Again, I use it to create masters for replay on poor quality systems whose spectral and dynamic characteristics, while known, are again outside my fundamental control.

If I were a professional mastering engineer, having to make silk purses out of other peoples sow's ears all day, I would want a multiband compressor no questions asked. I am not surprised that, as anfmusic states, working MEs use them all the time. I would.

However, the average home or semi-pro producer has great control over his or her sound sources, tracking and mixing, and most do their own mastering as well. By the time you get to the end of the process there shouldn't be too many surprises. If there are, then go back to your mix and fix it there - after all you have the time, right?

If you don't have the time (professional ME under pressure, anyone?) then make friends with a good multiband compressor and do your best.

If you send your tracks out for mastering, get feedback, analyse the differences between your final mix and the new master and work towards mixing your tracks as closely as possible to the mastered result (assuming you like it!)

Many people assume that professionals are 'just like us, only better'. In fact, the pressures on professionals are usually restraints on time, money, client egos and just trying to keep giving a crap about mixing or mastering another damn record for another damn band.

I designed high end loudspeakers professionally for many years. Many people thought it must be a dream job, listening to great music all day on great systems without a care in the world. Bulls**t. 10% of my time was great fun, the rest was supplier negotiations, calibrations, repetitive testing, customer massaging, reviewer smooching, construction manual drafting, parts list compilation, cabinet drawings blah blah blah.

The thing is, as amateurs we have the time to do things exactly as we want them to be. Talent and resources are our limits.
Professionals dance to rhythms of their own. Talent, resources? No problem.
Time, money? Forget it.

Enter the multiband compressor.

Lunatique · Post by **Lunatique** » Tue Dec 29, 2009 9:06 am

General rule of thumb for me is if the track needing compression has a wide range of frequency range and the recording is inconsistent across the whole range of the frequency ranges (for example, if the bass is somes too heavy in some spots), multiband will be better for smoothing out those inconsistencies. But if it's pretty consistent across the frequency range during the performance, single band compression is fine (or if the material has very narrow frequency range--for example, a funk rhythm guitar played on the higher frets).

DCrown · Post by **DCrown** » Fri Dec 22, 2023 4:29 pm

I prefer eq over multiband comp and use single band compressors only.
If you don't no to use a multiband comp properly you risk to make your mix sound worse. Some people use multiband comp like Waves C4 or C6 to sculptctge sound, to bring higher frequencies up and make a bass cut through the mix. Especially bass on small speakers remains unheard without boosting high mid frequencies

billinder33 · Post by **billinder33** » Mon Dec 25, 2023 3:19 am

There are 2 ways to use multiband...

First as a 'fix' in mastering or mixing, usually when you want to squeeze high frequencies while handling low end frequencies with a lighter touch. This is generally the realm of FabFilter Pro-MB or something of that ilk.

Second is as a sound design tool to squash and enhance a specific frequency range of interest. This is pretty common in loud EDM genres; not so much in ambient music or organic styles like rock, jazz, etc. The notorious OTT compressor in Ableton, Xfer's OTT plugin, or Minimal's Fuse Compressor are good tools for this type of compression.

Single or multiband compression?