In Pro Tools the master fader is before the plugins on the master buss, so it functions in this way automatically. I use several other DAW's and don't know any set up like this.
In Cubase, you can put the compressor in a pre-fader slot or a post-fader slot. If you use pre-fader you could also automate the gain in the pre section to hit the compressor and the back down the level with the master fader. This way, you could control the input and output gain using only one fader.
So if I'm understanding this correctly, the point is not the amount of pump of the compressor itself, it's the input going into it for simple reasons like not having headroom and even tonality purposes?
Hi mate! Thanx for the info/video. You didn't started with the Threshold on minimum, but says Andy leaves his untouched. Can you elaborate on that? UAD SSL starting point is null... Thanks!!!
Would you agree that this technique on applies when using analogue hardware compressor? While using plugin it doesn't make any difference Vs using threshold? Am I right?
I'm going to hypothesize that he does it this way because the behavior is much more variable on an analog device. He's probably used to feeding the transformers and circuitry a certain way. You know get them warm and working in their best designed way and then push into it. In a digital world that wouldn't matter.
I’m quite sure that’s it’s simply so that the compressor always stays in that setting, at that threshold, and the recall settings all get saved into the board. He looks back every once in a while to see where the needle is, but he’s not always reaching for a threshold knob, building the mix levels in a way that doesn’t creep up.
Incorrect. He used 10ms, auto rel and 4 ratio. This is stated in the Mix With the Masters videos. In the videos he says 1ms, but the hardware is faded out and he just reads it incorrectly. If you look at the unit, it's set to 10ms.
There are emulations that level better, there are emulations that are cleaner, there are ones with more mojo, but never heard another plugin get the snap quite as right as the Waves... still wish it was closer to the hardware. Somebody needs to do a new, up to date emulation of the SSL G comp with the technology that's available today, Pulsar, Arturia, or someone...
@@JoeyFTL Nebula and especially TimP libs are worth looking into. Although to comment on your initial point, I agree that there is something unique about the snap of the Waves SSL comp.
These are bad settings Try this instead. Try doing less 2 to 4 db 30 ms attack .1 release No analog button Recommend glue compressor as it has a ho filter side chain (FYI Andy probably did this in the analog domain )
I've been setting up my mix buses very similarly. But I do front bus and rear bus faders blended into my all mix bus where I do my SSL compresser... then I use my final Master bus slots for additional processing post mix, such as EQ and limiter. This gives me the ability to turn off the master bus processing if I want to send to a separate mastering engineer.
I wonder -Do all producers use master buss processing?? I've found it to be convoluting, overall... Kinda brings my mixes down in energy. Ha! Wish I knew how all these pimps pull it off!
@@GreenLightSound That's what they keep telling me... Ha! But, apparently I'm still doing something wrong... -Even when I apply a simple ssl style comp at -1 or 2 db max (mixing THROUGH it), it just seems to flatten my mix in an unflattering way. Looses all the energy -although I can see how it pulls/ gels things together... I needa give it another shot...
@@boobo3763 I never understood mixing with a compressor on the master bus either. Now I will do a brick wall limiter so that the level is brought up but it's very transparent. The bus comp on instrument busses though? Cool.