![]() ![]() The end result of over‑compressing your material during mixdown is a reduction in total dynamic range of your song. In order for these nuanced compressors to shine, your source material needs enough left‑over dynamic range to accommodate the processing. Here, Doell is referring to the use of multiband compression, which mastering engineers use to target and compress specific frequency bands in a track. Layering the limiting (by compressing the vocal, bass, snare, for example) will allow a MUCH more gorgeous, detailed, deep shine on the final product." "I like the analogy of getting a super sexy paint job for your car - asking the mastering engineer to do the entire job with one ‘coat of paint’ is not the smartest move. "Sometimes clients desire a ‘loud’ mix, but they have done little or nothing to control the dynamics of their mixes," says Doell. This should leave you with somewhere around 3dB to 5dB of dynamic range. Ideally, the files you deliver to a mastering engineer should have peaks of around –3dB for the loudest sources - a snare drum, for example - and an average of –6dB to –8dB for the remaining material. As a mixing technique, it is generally considered bad practice and has obvious consequences when it comes time to send your tracks out for mastering.ĭynamic range is defined as the difference between the loudest and softest elements in your track. ![]() A product of television and radio advertising, ultimately this phenomenon involved creating radio‑specific mixes by using exorbitant amounts of compression to maximize the song’s volume and attract the listener's attention. ![]() For many years, the "loudness war" was one of the most discussed topics in mixing and mastering circles. ![]()
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