Buss Compression:
Some Ideas

The topic of buss compression stirs up a lot of controversy at online forums.

First off, let me remind you of this: there are no rules in recording. You should feel complete freedom to do anything you like and need to get your desired sound.

Having said that there are some sensible guidelines I'd like to offer for your consideration.

Basically, there's 3 approaches to using buss compression on your mix:

1. Apply it as soon as you start.
2. Start using it when you're almost finished – for example when you're about 80 percent done.
3. Don't use it at all!

Back to the forums: the independent do-it-yourself-ers usually favour points 1 or 2, while the mastering engineers generally recommend the 3rd point.

So what's my view?!

Buss compression is fine as an effect such as adding a pumping type feel or some pleasing coloration to the sound of your mix if it is done properly and not for achieving extra level.

Avoid confusing compression with limiting purely for level.

And be aware of the drawbacks:

If you make a mistake, it can't be undone – unless you re-start the whole project again.

Be wary of coming to rely on compression to make your mixes work.

Is it really making an improvement? Make sure to A/B it with levels matched.

If you're unsure or not very experienced with it, it pays to be conservative. It's easy to overdo it.

I once received a project with compression over every song, and quite frankly, it didn't work well. The dynamics were for the most part gone and had that squashed sound. Unfortunately, this being a budget project, there was no time for a remix. I did the best I could with some upward expansion and the client was satisfied.

The happy ending to this story is that the client now trusts my judgement and has sent his subsequent projects without buss compression.

The moral: if you have doubts talk with your mastering engineer. If you want a nasty, pumping compressor, just tell her.

You can also send two copies of your mix – one with and one without compression. That way, if your compressed version tanks, your mastering engineer at least has an idea of what you want and can immediately begin working with your un-compressed version instead of having to wait for you to do the whole mix again.

So, if I hear that a compressor was put on the stereo bus for aesthetic reasons does that mean I wouldn't use one in the mastering stage - so as not to change the feel of the piece?

That would really depend on the source material and how much compression was already used.

If you're looking for a general direction on mix bus compression, avoid it if it's just because you think you're supposed to.

If you choose to use it, then have a reason.

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