I had this problem with Cantana 2 initially, where the snare/clap sound in the original mix was still quite dynamic and peaky… this meant that the low threshold / high ratio settings tending to really squash the snare and introduce ‘unmusical’ pumping. One thing I’ve found with parallel compressing in this way, is that it’s easy to either compress the wet signal too much, or blend too much of it back, and adversely change the level balance of different instruments in the mix. The settings used for Cantana 2 are shown below… The main difference between these two instances is in the attack and release settings… the first tends to use quicker settings in order to further (but more gently) even out peaks, whereas the second uses slower attack and release to provide a smoother, more general gain reduction.įor the last couple of tracks, I’ve used parallel compression in the first Glue instance… using a high ratio and low threshold to really squash the sound, and then using the dry/wet control to blend it back with the original signal. In Cantana 2, I used threshold of -3.5dB, with the fastest release setting, just to catch and even out the really fast peaks…Īnother significant change is that I now tend to use two instances of Cytomic’s ‘The Glue’ in series. In the previous post I discussed using Waves L1 as the first step in the chain, to even out transients and allow subsequent compressors to work more easily… and this aspect hasn’t changed. I’ll go through the exact effect chain and settings I used on Cantana 2. I have absolutely no regrets about this… the amount of gain reduction it can provide without any adverse artefact is quite amazing (this was one of the reviews that convinced me incase you’re interested). After looking at a couple of different options as a replacement, I bought the T-RackS Stealth Limiter after reading a couple of favourable reviews. Previously I was using Waves L1 for this, and whilst it’s a useful tool, and definitely very good for transparent limiting on individual sounds, it’s also getting pretty old (not sure exactly when it was released, but it was more than 12 years ago), and I find that across a whole mix, it tends to add artefact, and lose some transparency when more than around 3-4dB of gain reduction is applied. The biggest change to the setup is the final limiter plugin. Some time’s passed since then, and my standard master bus effects chain has evolved further, and using this chain and new techniques I’m now able get pretty significant level increases (5-6dB) whilst still maintaining a reasonable transparency and general mix clarity. Back in October last year I wrote a post about bus compression, and what at that time was my default effects chain for master bus compression.
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