Compression for Mastering

[Compiled from posts by Audition M.D. and Jonrose]

It's very difficult to be general about the use of compression when mastering. It all depends upon the program material. The first question would be, do you really want to compress your mix? Or, are you simply wanting to add some 'loudness' boost? These are two different things, though both can be achieved with either one or both dynamics processes (compression/limiting).

If it's just a little 'punch' that you're looking for, try creating a compression preset with a 2:1 ratio and perhaps a few dB of output gain (not so you're changing the 'loudness' per se, but just giving it a little more oomph!)

2:1, 3:1 were the favored 'final' compression choices on the old SSL consoles. One producer referred to the SSL's 2:1 2-mix compression as the 'record maker', and indeed sometimes it did the trick.

However, I would suggest being very careful with compression, and listen very carefully to what is happening when it is applied.

Is it really doing what you want it to? Certainly it's a useful tool, but make sure that when you start to achieve the sound you want, that you are not losing the essence of your mix - this is perhaps more temporal than tangible (although I could argue that temporality is a very tangible aspect of sound).

Just be aware of the way your dynamics are being squashed, and if it really starts to become a big blob of sound, you'll need to back way off and start over - preferably with a fresh set of ears. Some things need compression while tracking, and that's alright, others can stand a little after tracking...be aware of how much each instrument/voice is squashed at the very end of your mastering process - YOU WILL HAVE TO THINK AHEAD. Sometimes this isn't so easy to do.

Save different versions and, later, listen to short, identical sections of what you consider the more critical areas of your pieces.

I know this answer is rather slippery, but I just don't feel comfortable commenting specifically about the use of compression without actually hearing what is being worked on (again, the use of any EQ or compression is totally program dependent!)

Compiled from posts by Audition M.D. and Jonrose