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When compressing low-end, it’s best to consider which instrument or group you’re trying to control - for example, a bass guitar is typically compressed with an optical compressor with a soft knee. Alternatively, a kick drum will typically sound better with a hard knee and faster attack and release.
Quickly Fix Masking with EQPinpointing Masking FrequenciesFinding Fundamental and HarmonicsFinding Dis-harmonious FrequenciesDynamic Resonance AttenuationDynamic Masking CompensationEmulating Microphone CapsulesEmulating Famous MicrophonesImportant Vocal FrequenciesEQ for Dialogue
To fix masking in your mix or master, pay particular attention to your low frequencies - which both have immense overlap in terms of the musical scale, and can greatly affect higher frequencies. The best tool to reduce masking is an EQ, but saturation and compression also play a role.
When blending vocals, heavy compression with a shorter attack and longer release will work well on BGVs, doubles, and background harmonies. If you’re trying to blend vocals but the timing sounds off, try heavy de-essing to remove sibilants causing the perceived timing issues.
When making a mastering chain, first understand the routing of your DAW, then choose a first insert that will set you up well for further processing. Typically your mastering chain will include subtractive EQ, compression, saturation, low-level enhancers, and a limiter, before including automation to make the master unique.
You can ‘Heat Vocals’ or add lots of presence and detail by introducing compression, saturation, parallel high-frequency compression, and a short delay to thicken the vocal. Before your compression, use some corrective forms of processing like subtractive EQ and a de-esser to tame problem frequencies.
When mixing acoustic guitar, typically you can start with an EQ that cleans up low frequencies, before moving to compression and/or saturation. The compressor you choose will depend on the sound you’re trying to achieve, for example, an 1176 will work well in a rock mix.
Edit First for Less CompressionCapture all of the VocalEmphasize 2kHz into CompressionDoes Saturation Compress?Saturation vs. Compression for VocalsTry Reverse SaturationExpert Vocal Dynamic ControlUpward and Downward Compression Peak then Optical CompressionShort Reverb as CompressionCompress Temporal Effects
When making a crisp mix, you need to find ways to both amplify and slightly distort or compress the high frequencies. Having a present high-frequency range can often be achieved with a shelf filter, followed by compression or distortion, and utilized until the mix sounds “crisp.”
When mixing vocals in Ableton, start with EQ and then compress with a quick attack and makeup gain to bring the vocal forward. With the dynamics controlled, introduce temporal processing like a chorus effect, various reverbs, and delays, before finishing the chain with slight compression and EQ.
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When mastering in FL Studio, and using stock plugins, start with a parametric EQ to attenuate troublesome frequencies. Then introduce some subtle saturation to fill out the sound, upward compression to increase detail, transient expansion to improve transients, additive EQ to rebalance the signal, and some compression and limiting.
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Optional: Start with Gullfoss EQOptional: Use Soothe to Reduce ResonancesUse Subtractive EQDe-ess or Compress SibilanceAdditive EQ into SaturationOptional: Modulated Saturation for TransientsUpward Compression or InflationShort Delay, and Short ReverbOptional: Longer, Stylized ReverbLarge Bandwidth Mastering EQAutomating Plugin Settings
