Working with opto-style compression (2): mixing a song

, 0

As I promised (see my first post on the topic), I’m going to reveal some secrets about my last mix project. It’s kind of a DIY music video, made for my youtube channel. It’s an acoustic ballad, played by Julia Motz and me on two guitars. If you like our music, check out www.motzundteissen.net.

Now here’s how the recording was made: We recorded it on a 4-track basis: 2 mono guitars, 2 mono vocals. That’s it. No compression oder EQing during tracking.
While mixing the audio track for the video, I processed EVERY track as follows:

  • phase alignment between the 4 tracks – essential
  • (subtractive) dynamic EQ – extremely useful, I use it much more often than a compressor plugin
  • fader/gain automation – it’s a lot of work but worth it (again: on all tracks!), no compressor needed!
  • if necessary, some light FET-style compression, just to tame the highest peaks

Then I went out-of-the-box, sending EACH track through a IGS ONE LA500 optical compressor, then going back into the DAW again. I processed all 4 tracks with the ONE LA500 applying approx. 3-4 dB gain reduction. (Don’t forget that I did all the necessary corrections before sending the tracks to the opto comp, so I’m using the compressor for subtle compression and overall tone coloration. The tracks should not sound louder in the first place, they should sound BETTER.)

ONE LA500And though the source material was not “optimal” like a high-end studio recording (due to mic bleeding, the “live” performance and environment), the opto compressor did great on all tracks. The vocals sit great in the mix, and the sustain of some guitar notes and chords was enhanced very nicely. No wonder that for vocal tracks, optical compressors are the first choice of many engineers.

The rest was simple. After processing all tracks with a ONE LA500, I finished the mix ITB (in the box), adding a pinch of reverb, buss compression, and the usual sh**. For me, this mix sounds richer than my last one, where I was mixing without outboard gear. The IGS ONE LA500 will not only be my go-to comp on bass (as I’ve shown in my last post) but also on vocals, and probably on acoustic guitars too …

Oh, and here’s what it sounds like (don’t forget, the audio quality deteriorates due to youtube’s video encoding, but still …). I hope you like the result! Cheers, Tim

Working with opto-style compression (1): bass

,

Opto compressors are said to sound very musical, especially when used with bass instruments and/or vocals. In my live rig, I’ve been using an opto compressor pedal for quite a while now, it makes my bass or guitar sound thick and warm, while preserving the punch of the instrument.

ONE LA500In the studio, I’ve recently had the opportunity to work with the IGS ONE LA500 (see picture), which is a single channel optical compressor just like the “good old” Teletronix LA-2A, a compressor heard on countless records since the 1960’s.

Soon, I’m going to post a mix I finished a few days ago. While mixing that song, I was using the ONE LA500 on every (!) track just to figure out what it sounds like, or what it adds to the sound. More about that mix project soon.

For today, I’d like to share some sound files which have been processed using the ONE LA500 by IGS Audio. Being sort of a descendent of the classic LA-2A, it naturally shares the same sonic DNA, and that’s why I used it on bass in the following examples.

1. Electric Bass

My first example features a short slow bass groove. (Don’t forget to use good earbuds or speakers.) The first audio clip is the unprocessed bass track, in the second clip, the bass track was processed through a ONE LA500 with about 7 dB gain reduction. Both clips have the same peak level, but the compressed bass track of course has a higher RMS level.

Unprocessed electric bass (D.I. signal):

Processed electric bass (compressed):

You can clearly hear the punchier attack and the longer sustain of the notes. Also, the shorter notes are much more balanced in volume. (That doesn’t excuse sloppy playing, but helps if you’ve got a sloppy bassline …) The makeup gain circuit, too, helps the track sit well in the mix, since it’s a tube design and adds nice harmonics if you crank the knob. If you don’t exaggerate, it adds some classy, elegant texture to the signal.

2. Double Bass

A short demo of an acoustic, upright bass. Again, the following examples have the same peak level.

Unprocessed double bass (mono track, 1 LDC mic):

Processed double bass (compressed):


Here, the original track was compressed using a ONE LA500, with about 6 dB gain reduction. Usually I wouldn’t use that much compression, especially if it’s a sparse arrangement. Instead, I’d process the track first (with dynamic EQ, gain automation etc.), AND THEN send it to the optical compressor, so I could dial in less (audible) compression and benefit from the sound of the unit (which there is, even at small gain reduction amounts). But that’s just me. To others, it might still sound great (which it does), and they’d dial in even more compression (which the LA500 is totally capable of).

Anyway, this example should demonstrate what the unit sounds like. Similar to the electric bass example, it adds some nice attack and sustain to the notes. Moreover, the musical phrases don’t die away at the end (listen closely to the length of the long notes).

Hope you like the clips! As these examples show, optical compressors are great for processing tracks with long, dynamic musicals phrases. To some, the differences might be subtle, but these subtleties will stack up in the end, over a whole mixing process with lots of tracks. Your bass or vocal tracks will sit incredibly well in the mix. For me, as a singing bass player, the only thing that’s better than an opto comp is two of them! But that’s another story …

More examples coming soon! Cheers, Tim