You have to listen to the song and try to determine where the problems are and how many bands you might need. The skill comes in when you can adjust the frequency range for each band or even how many bands it has. You may also have peaks in the mids that don't happen at the same time as the peaks in the bass and highs, you can adjust the compression for just that area. So you can fine tune the dyanamics in that range to catch those without reduceing the bass or mids. You may also have cases where the highs peak out say when the high hat or crash hits. If there is more then one track that has content down there it can be a trick to get the mix just right all the way through the song so in that case a multiband would be a quick fix.
With a multi-band you can compress the low end a lot without dulling the rest. When you use a wideband compressor you can hear it kick in each time there is a lump in the low end that triggers the threshold because the mids and highs drop also.
#MULTIBAND COMPRESSOR FOR MAC HOW TO#
I'd really like to learn how to work the multiband to do stuff like that! And they always seem to bring out details and give "punch" and "oomph" to my mixes (not talking about loudness issues). Thing is, when I've been trying out mastering tools like Ozone 3 or T-Racks the presets always employ pretty radical multiband compression. For example if string to string balance on a bass guitar is not good and you are getting too much low end on some notes and not enough on others, you can use the low band to fix that without dulling the entire sound so you end up with a track that sounds better without having to redo it with a good bass. A multi-band compressor might still work OK on the main buss if you get it adjusted right but today they are more often used to fix the dynamics on a track that has wild dyanmics in an isolated frequency range. In the old days when mixes could not be automated or recreated without a lot of trouble and expense tools like a multi-band compressor were fantastic but today it's possible to get the mix "right" to start with rather then go with a quick "almost there" fix. For example you can have it limit the bass more then the highs or mids to try and fix a boomy mix but what you should do is find the tracks that are adding all that low end and fix them (with some EQ) so they will be better defined in the mix. How am I to know what attack / release times, ratios and knee shapes are good for the different bands? I've been playing around with the Sonitus Multiband and checking out the different presets and they seem to leave me dumber than before.Īre there any mastering gurus here who would care to enlighten me with som ground rules for using a multiband from scratch?Ī multiband compressor can solve some problems with a bad mix but it's better to find and fix the real problem. To a guy who thinks one EQ or one compressor is complicated enough, the concept of a multiband compressor on the main bus level seems like a really filthy can of worms.
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