What SingleBand Compressor Do You Prefer?

I'm not trying to drive this subject into the ground, but . . .  just wondering what your single band compressor of choice is for mastering?

I seem to have a totally different (and, no doubt, old-fashioned) take on 'mastering'.

For me, this is the process whereby you assemble all the tracks for a particular project - deciding what order they should be in, adjusting relative levels so that you are not forced to jump out of your skin at an unexpected volume increase, length of silence between tracks, etc., etc.  As far as I'm concerned, my tracks are all but finished when I have mixed them to my (or a clients) satisfaction.  I do not subscribe to the current trend, whereby 'mastering' seems to mainly consist of raising the average RMS level as far as possible and reducing the dynamic range to nothing.

That said, I do use compression during mixdown, but never across the output buss.  As for what compressors I prefer, I'm not sure that I have any real preferences and tend to use whatever comes to hand first - usually whatever is included with the software package in use at the time.

I seem to have a totally different take on 'mastering'.  I do not subscribe to the current trend, whereby 'mastering' seems to mainly consist of raising the average RMS level as far as possible and reducing the dynamic range to nothing.

I am in total agreement, Graeme, I'm very much against the volume wars.  However, I don't personally do any recording or tracking -- just mastering for my clients.  And from time to time, you just need to do what you need to do -- and sometimes that involves some compression.  That's why I've been interested in what compressors other like to turn to.  It probably doesn't matter a whole lot which one you use, I've just been a little curious as to what other seems to like.

If I'm doing something that calls for that kind of mastering I tend to reach for either of two PSPAudioware plug-ins - the Master Comp or the compressor that comes in the PSP Mixpack 2.

If I'm doing something that calls for that kind of mastering I tend to reach for either of two PSPAudioware plug-ins - the Master Comp or the compressor that comes in the PSP Mixpack 2.

That's interesting.  I used to have PSP MixPack 2, but no longer use it.  However, I still use PSP VintageWarmer 2, which is sort of a hybrid Compressor/Limiter.  Actually, it does a very nice job.  I've never tried Master Comp.

As for what compressors I prefer, I'm not sure that I have any real preferences and tend to use whatever comes to hand first - usually whatever is included with the software package in use at the time.

The big problem is that Audition's dynamics effect is so hard to use with everything on different tabs. I don't know if you can still use Premiere's plug-ins with Audition 3 but the Premiere dynamics plug-in is much easier to use.

Cheers

James.

The big problem is that Audition's dynamics effect is so hard to use with everything on different tabs. I don't know if you can still use Premiere's plug-ins with Audition 3 but the Premiere dynamics plug-in is much easier to use.

Perhaps I should have said that I was never a fan of CEP or AA for multitrack work, for this I use to use Cakewalk and latterly, Sonar.  These latter apps include perfectly usable tools for compression and the like.  These days, I have abandoned computer based recording almost entirely and do all my audio recording and mixing with a Korg D3200. AA is just used to finally tidy up the work - fades, assembly, etc.  I still keep Sonar for the midi stuff.

For me, CEP/AA are great apps for restoration work and are wonderfully accurate and fast editing tools. However, their use as a multitrack recorder rather leaves me cold.

I was never a fan of CEP or AA for multitrack work

do all my audio recording and mixing with a Korg D3200

How about that 

I used to do all my work on a Korg D16 and used CEP/AA to mix & edit

I abandoned that a few years ago and now am totally sold on AAs multitrack recording, editing & mixing.

Apart from some location work (if pushed) I would never go back that way.

Go figure....

Apart from some location work (if pushed) I would never go back that way.

Go figure....

The figuring is easy .  Just about the only live recording I do these days is location work.  For that sort of thing, it's a no-brainer to use some sort of self-contained HD recorder, it's just less stuff to heave around.  I used to import the raw files into the computer for mixing, etc., but found that the Korg was more than capable of producing what was needed in 'stand-alone' mode.  Now the computer system is just used for assembly and writing the discs.

Just about the only live recording I do these days is location work.  For that sort of thing, it's a no-brainer to use some sort of self-contained HD recorder, it's just less stuff to heave around. 

I have to say that for location work, I do the same thing. Recording in a fixed location, where everything is set up and ready to go, and retakes don't particularly matter, then using a software-based approach is fine - but on locations where you only get one go, I'd only use software-based recording on a laptop (or whatever) as the back-up, not the main.