Compressor that keeps frequency spectrum

[narf]

Once I compressed string section and it sounded better, but next time I listened to it sound became too rough. Not good for strings. Is there a compressor that behaves better or it's just my settings: -35dB threshhold and 1:1.1 ratio?
Does this thing exist at all?

 

[narf]

So the sound was stronger but frequencies somehow changed and highs increased

 

[localspace]

Which compressor did you use? Did you listen to it on other speakers or something, I don't get how it would sound okay first and too rough another time?
Those settings are really weird too, that's probably it.
The 1:1.1 ratio means that it's hardly compressing at all, but then the threshold is extreme. Generally you'd use something like 1:4 ratio and a threshold a few dB's below your output level.

One reason to use vintage compressors (or emulations of it) is that it gives a pleasant coloration to the sound (great for string sections), but if you want to purely regulate the dynamics without
altering the sound a digital compressor, or even limiter is more transparent.

 

[laurend]

What about the used attack and release settings ?

 

[MadHat33]

Once I compressed string section and it sounded better, but next time I listened to it sound became too rough. Not good for strings. Is there a compressor that behaves better or it's just my settings: -35dB threshhold and 1:1.1 ratio?
Does this thing exist at all?

Hi there!,

I think I may follow your intention with the low ratio for strings---but as well, I think your instinct to ask about this directly reflects the unfortunate quality audio gives back when incredibly low ratios are used for dynamic control. This is just my experience speaking, as I've heard several others prefer low ratios for certain situations (buss work, etc), but I have definitely found such low ratios to cause strange barely audible changes and these effects are quite noticeable in less than ideal applications/situation, for example your strings. Just to mention as well: In general it is quite difficult to musically-compress (with any type of parameter settings) instruments utilizing strings as the means of melodic/rhythmic performance. often the natural result is counter-productive pumping of dynamics, and/or as you've mentioned in your main post frequencies throughout the spectrum are weirdly smeared. A final thought on your settings: if you have access to some type of compressor plugin which shows the curve of dynamics applied, I would suggest tweaking your parameters (ratio, threshold, etc) and watch the display section showing the changes to the curve being applied to your audio-----with this you'll see how bizarre and essentially flat this compression curve below 1:2 is. Random thought as well: I've found plugins with compromised technology have weird errors that will create obscene digital artifacts. Perhaps this is there case with the increased high frequencies youve mentioned, for example: maybe the plug is slipping into some type of upward compression or expansion, the 1:1 going into the negatives somehow. Lord only knows though lol, technically accurate compression squelches low freq and makes less demanding content beyond bass/mids more audible when output gain is given in response to the change.

To get at your request for an alternative or suggestion for settings, I first like to suggest parallel compression. Given your specific need here for strings and their response to dynamic constriction I think parallel work would absolutely get you down the right road. But perhaps this would depend on your original engineering goal for compression these items. For example: if you're going for thickness/tone, you could compress your parallel string track in full context to tonal taste---or, if you're aiming for stable dynamic control leading to audible consistency of the performance you could smash the bloody-hail out of your parallel string track in solo and apply a gate into (or after) this compression to control the absurd sustain that will result from this; sneak this obliterated track up beside the dry track to tonal-taste or in full context for full mix-appropriate levels.

One final thought (actually "final" i promise) if you will permit it: were you meaning to suggest you dialed in these settings and were convinced of better sound in the moment, THEN, later you came back with fresh ears and were turned-off by the dialed in result? If this is the case, that is 100% normal for all human beings living on this giant, hurling-through-space, rock we call earth. I would personally suggest finding practical habits meant to retain your sense of objectivity throughout a sit-down with a mix---this could be done through bypassing plugins in and out, listening to varying reference mixes, Listening To Silence, or in a pinch: try swinging parameters to extremes like a controlled pendulum and then bring back to your preferred spot. These things can really ground your perspective or perhaps keep your mind's eye on the goal: balance meant to obtain compelling musical impact on thy self and others!

I hope this thoughts are helpful!

-MadHat

 

[narf]

localspace, this is a different approach. Instead of using high ratio/moderate threshhold, compressing almost everything with very low ratio. I don't know if it's good but it does something. Let's see if I have a vintage comp... Supercharger comes to mind. I used Fruity Limiter, it's a compressor also - pretty good.
laurend: I wish I could look now, but attack was probably fast (~2ms). Long just didn't work.
MadHat33 Wow! Didn't expect such long text Thanks for your efforts Pumping, that's right. Such settings make interestesting effect for multiband comps that ears get tired. Quite quickly. On the other hand, I don't like how compressors sound (mostly), but they're extremely useful. When I try to make a sound more awesome, it usually gets less awesome.

Ok I'll try parallel compression, I need to leave some natural sound indeed. And the goal is thickness/more powerful sound. This may really work.

One final thought (actually "final" i promise) if you will permit it: were you meaning to suggest you dialed in these settings and were convinced of better sound in the moment, THEN, later you came back with fresh ears and were turned-off by the dialed in result?

Yes, so, 100% normal agree! One other method that I found as well is to walk away, listen to some real sounds in another room/ambience, take a break. Recalibrating&relaxing ears.

I hope this thoughts are helpful!

-MadHat

Very helpful no doubt Many thanks for your advices.

Hoping you all understood me as english is not native to me. Have a nice day

 

[localspace]

Supercharger is pretty nice actually. I gets overlooked probably because it was launched as freebie, but it has a pretty particular sound I like, I have the GT version which has bit more options for the saturation it gives.. Klanghelm MJUC is also a really affordable but awesome compressor plug-in, it can add a bit of pleasant drive to the signal and has a knob for 'dark -> hi-fi' which I think will work particularly well on strings. Also check out the Variety of Sound plug-ins if you haven't.

I get the logic behind compressing the whole signal with a low ratio, but I still think you'd get more pleasing results by using a 'coloring' compressor at more extreme settings, in parallel if you find this knocks too much life out of the sound. You get the pleasant warming and fattening of the compressor, without losing (all) the dynamics of your original signal. The low-ratio, low treshold across all the signal just means all of it gets flattened pretty much equally. That's cool if you're simply managing volume levels, but not if you're trying to manage levels of awesome

 

[Synapsis]

maybe try tape saturation

 

[laurend]

No bass can survive to a 5 ms attack time.

 

[SonicSlice]

In addition to Parallel compression, you could try using a multi-band compressor and only compress the high frequencies. Multi-band compressors also usually have a range of presets for things like bringing out more thickness/power in the sound.