Question about compression


In every profession there are charlatans with no respect for themselves or their clients.

@canecreek: Edited to add: I’m not dumb enough not to know how to use Ozone myself. What I can tell you is that, if one cannot hear the difference from someone like me (not a professional engineer who actually studied engineering and has a degree on the topic) using an Ozone preset versus a Mastering engineer actually doing their job, well, that means that:

  1. they’re just a bit deaf
  2. wow I managed to write a song that is mastered properly in all the right places throughout the song over the full frequency spectrum, with a single Ozone preset. I must be REALLY good.
  3. Maybe my song only contains one instrument.



@st3aLth Im not closing or deleting this thread just because you are embarrassed or whatever now.

No one in this thread has been mean or has “shit on you” or your music. All I see is friendly advice here based on the question you asked.


As many have said, it depends on the track. Some tracks will obviously need some, and others might’ve been mixed well enough to your ears to basically not need much at all. If you have the cash, it’s probably best to let an ME figure out what the master needs, aka what you fucked up during mixing


That’s actually an interesting approach, mixing into the compressor basically (lol this term actually brings up stuff on google^^)

I’ve read a tutorial about that recently.
Mix Bus Compression Guide


Mah loudness wars! lol

It’s weird that to this day people see compression like some sort of boogie-man with its only purpose of “make things loud or do a sidechin like that tutorial guy on youtube”. It is a crucial tool and incredibly diverse for pretty much every genre and its layers. There’s a reason why there’s such a huge variety of hardware/software ones and that’s what makes it a great sound design tool too. It’s the diversity you can achieve with different kinds of it. You know you can dry/wet it any time? People EQ the hell out of their mixes and then compression is all the suddenly a taboo? Give me a break.

Compression it’s not only the production-stage process. There’s this ability to shape sounds from the source stage, some do offer saturation if you crank them all up, opposite functionality like upward compression, expanders, glue, multiband power-processing. Bass designs, drum transient shaping, etc… Cliché saying but it could bring more character to separate layers too (just like saturation adds more warmth). Crank one up, interesting audio artifacts. How’s that not cool? Think creatively.


fwiw I don’t over compress or over EQ my songs anymore, in fact many of my mixer tracks have no EQ or compression on them–now that will give you a certain sound, but in electronic music if you are making all your own sounds and writing from scratch you shouldn’t need a ton of either.


Seen something that interested me on sonicstate the other day that BT was encouraging Robbie Bronnimann to commit everything to Audio and by doing this how much his sound improved.

@ 26.45 minutes here…interesting


BT is a god amongst us mortals.


Something that helped me loads at getting better at mixing records was always hitting record. Despite the fact I could immediately delete it, it made me try harder every single time.