WHY do we compress and change the Dynamics of the music while mixing?

Prof. Daniel Dettwiler insights about why we do have to work on the dynamics while mixing.
Link to his Masterclass in case you are interested:
www.danieldett...
MWD 17 - Mix with Daniel.
INTRO SONG:
BRASS DEPARTMENT
• BRASS DEPARTMENT - Wel...

[@BeeSquared]

One of the greatest discoveries about dynamics is that it doesn't have to always involve reducing the dynamic range. Lately I've been experimenting with tools that make the loud parts louder and the quiet parts quieter!! It makes sounds almost leap from the speakers and brings some new life into the songs we create. It's amazing how we can make sound dance before our eyes (and ears). It's a very wonderful job we do!

[@danieldettwiler.official]

Yes, upward expansion is sometimes great. Also, a great trick if you got tracks to master that are over compressed.

[@studio-yilmaz]

Danke Daniel, für eines der besten channels für mixing und mastering👍👍👍

[@danieldettwiler.official]

Danke, lass andere davon wissen! Plus, falls Interesse, checke die Masterclasses aus auf www.danieldettwiler.com

[@javierjanaid]

Waiting for that!!!!!!!Thank you so much!!

[@danieldettwiler.official]

Thanks! Share it, I think that one would also be important for musicians to hear.

[@joejohnson8966]

Great video. Thank you.

[@danieldettwiler.official]

Thanks. Share it!

[@dncivjrbels-1353]

I myself had worked at Decca records and I can't count how many pieces/recordings were finalized with no compression at all, whatsoever. I do recording myself too from time to time, from solo piano to small ensemble, and I NEVER use compression because whenever I try to apply some, it always sounds unnatural, no matter what compressors you try. Of course I am talking about classical music here but doesn't this apply to any genre, especially acoustic music genre? I totally understand the concept you talked about and I know you are technically correct, regarding "people are listening to your songs pretty quietly and they might even chat while listening" - yes, compressors will even out the volume of harmonics and thus anyone can hear everything more clearly even in low volume, but here's my question - do you even care about these listeners when you want to release your classical music records in the finest form that you have trained decades for performing and expressing your most delicate dynamics expression? Why do you ignore the inevitable sacrifice that compressors will give? If you recorded any instruments and if you feel it's seriously perfect sound as is (which I always feel on classical recordings), then applying compressors will not make it more perfect, it will make it worse. I'm also very curious what you'd think about Bruce Swedien's (Michael Jackson's producer) famous saying, "I hate compressors. Compressor is for kids, it's a crutch." He was talking about inevitable unnaturalness that compressors will give to your sound, and he was always saying "find the BEST performer, BEST microphone and BEST mic placement". I assume what he wanted to say is similar to what I think to classical recordings. Al Schumitt was the guy, famous for not using EQs and I have seen your video trying to mix without EQs. Why not giving it a try to make another video about mixing without compression? I would love to see your opinions and approach.

[@danieldettwiler.official]

I strive to convey a serious level of education in my content, particularly in these free KZbin tutorials, aiming to go beyond mere "Wow the crowd" moments without substantive information. In the realm of audio technology, every advancement or decision involves a price or compromise. Yet, we must acknowledge that the complete reality of musical performance doesn't translate entirely into our living rooms. What we hear are the membranes of two speakers oscillating back and forth. As sound engineers, our task is to create a pleasant experience, simulate a sense of space, and ensure that even at lower monitoring volumes, we capture enough detail. Aspiring sound engineers must master and adeptly use a variety of tools, adjusting their application based on the situation. Criticisms of EQ may arise, asserting that it alters phase, and indeed, some engineers, like Al Schmitt, claim not to mix with EQs. However, this approach necessitates other compromises, such as miking a piano from above the hammers instead of the side (a preference for many) (because if miced from the side, one would need to use an EQ). Schmitt himself does employ EQ when necessary, particularly for recordings he didn't engineer. Bruce Swedien's compressor commentary, doesn't offer much guidance to aspiring engineers, as he used tape and a great sounding analog mixing board back then. His heavy tape compression setup was tailored to the music of his time, which was already produced in a way that minimized the need for additional compression. And he did a lot of fader riding too. In the classical realm, the use of a compressor is particularly delicate. In my recent classical project with the London Symphony Orchestra recorded at Abbey Road Studio 1, I opted not to use a single compressor. Instead, meticulous automation of levels was employed to ensure that in quieter passages, the upper harmonics remained audible. While some may find contentment without compressors, another critique might emerge against automating levels. However, other clients and producers want a slightly more processed sound even on orchestral work, and I don't have any problem using compressors even in classical music (but they would, obviously, not do a lot, and be very slow and forgiving). Decca, pioneering early experiments with poly-miking, faced criticism for an unnatural sound (although I personally appreciate the distinctive Decca sound). Criticisms also targeted their use of three main microphones instead of two (Decca-Tree), as well as employing Out-Triggers. However, I believe Decca's unconventional miking techniques helped reveal details that would have otherwise been lost. In conclusion, my perspective is that engineers must be well-acquainted with their tools, utilizing them when necessary. I use, whatever tool is available, when this tool is required. The poorer the quality of the initial recording, the more crucial these tools become.

[@dncivjrbels-1353]

@@danieldettwiler.official Thanks for your detailed reply. Just to clarify, don’t get me wrong, I’m not that “don’t use compressors at all” guy. I appreciate your educational explanation videos. But I just wanted to hear your opinions about this compromise that compressors give you because as far as I see, you haven’t mentioned about this. I worked for symphonies and bigger orchestral recordings and found that these “big” projects are much more forgiving to use compressors (because I don’t hear it much, as long as it’s used subtly, just on some parts, but never “entire” bus..) but in smaller structures, such as solo classical or small ensemble, I always hear compression being unnatural, even if it was just -1db GR so I always say NEVER to them. Yes of course, volume automation is always necessary and I use them all the time when needed, but my biggest point is volume automation never alters any transients or anything and it keeps sounding natural or unnoticeable if well done, but compressors will, and I hate that in classical. Yes, I know and I’ve seen many of opinions of “Bruce Swedien had tapes though”. First of all, (I’m sure you know all of this, but) tape compression is much, much more natural and I myself think that they are not even “compressors” to start with. Yes they give you somewhat similar effects of compression, which reduces dynamics, but I wouldn’t call them “compressor” because to me it’s more like calling “that microphone has compression in it” “this room has compression in it” “the electric resistance on this cable has compression in it”. I hope you get my point. Furthermore, Bruce did use all-digital system too from time to time, without any tape. But he didn’t change his opinions about compressors. Anyway, if Swedien finds additional compressors will help sound, he would have used additional compressors, but he didn’t and said that. I believe what Bruce was hearing is the same effect that I don’t like in my small ensemble situation.

[@FreeTimeSpacken]

richtig gut erklärt habs verstanden ! danke :)

[@danieldettwiler.official]

Freude herrscht. Gerne teilen!

[@kevinlentz7604]

Danial your content is totally awesome,recording since,1977,you completely changed the way I approach mixing Love your STUFF, NEW FAN ❤ CALABOGIEWEATHERMAN

[@danieldettwiler.official]

Great:-) also check my Bible: www.danieldettwiler.com/course/daniels-mixing-bible

[@StaticTeaz]

Compressors are great, or can be, for imparting character. It's not just about dynamics. And of course attack and release settings affect the sound too.

[@danieldettwiler.official]

Yeah, that is the case moreover with analog compressors. Just choose the right box for the right task, and you are in heaven:-)

[@StaticTeaz]

@@danieldettwiler.official Analog would be great but that's not in my budget. Fortunately digital has come a LONG WAY since when I was a kid.

[@danieldettwiler.official]

@@StaticTeaz I agree - I started digital too and made great mixes. But all we had was D-Verb and Trueverb, Waves Q10 EQ and Waves Compressors (the C1) and some other basic tools:-)

[@StaticTeaz]

@@danieldettwiler.official I remember my old DOD and Digitech pedals from the '90s. The digital distortion on the former was truly awful. Now I can get great tones out of a laptop. It's fantastic on one level, but it also contributes to more solitary recording and can be dangerous for a perfectionist like me. One can tweak and edit all day. At some point we have to ensure the joy of creating and sharing music isn't lost.

[@danieldettwiler.official]

@@StaticTeaz Yes, and everything you do, to correct things (because you can) often also has drawbacks. Moreover our clients (the musicians) often have difficulty's to hear everything. They might want to fix some harshness in the vocals in the mastering (because today you could) and then like that, but don't hear at the same time, that the entire presentation of the mix is worse.

[@thegroove2000]

Thanks. Makes perfect sense.

[@danieldettwiler.official]

Glad you liked it!

[@thegroove2000]

@@danieldettwiler.official Subbed as well. Keep up the good work.

[@danieldettwiler.official]

@@thegroove2000 thanks!

[@davidtighe6769]

Hi Daniel, love these videos. Would it be accurate to say that when we compress we reduce the dynamic range and bring up the RMS energy of a signal and it’s this RMS energy that has the harmonics in it? Or am I misunderstanding it

[@danieldettwiler.official]

It's maybe not fully correct to think so in a theoretical way, but de facto you can see it that way. If the RMS Level is hot and on a good spot, you have a good chance, that all harmonics are heard better. Spread the word, if you like the vids, and check my Mixing Bible, if you havn't already on www.danieldettwiler.com

[@davidtighe6769]

Thanks Daniel, I’ll be checking your courses out for sure, all the best!

[@danieldettwiler.official]

@@davidtighe6769 Let me know what you think🙂

[@synthoelectro]

now that's an interesting quesiton

[@danieldettwiler.official]

It's important to think about it:-)

[@bartjelories]

But then my question is what happens when you play compressed music live.

[@danieldettwiler.official]

As it's also coming out on loudspeakers, you don't have to make the amplification too loud then. Or if it shall be loud, then if you throw nicely mixed and compressed music on a PA it sounds larger than life, just like at home, if some want to listen to music loud - good - because larger than life is what they want then anyway.

[@danielmauric8491]

IMHO, a well mixed track played loud on PA sounds better than live band. It may depend on the style, but for most rock and modern music production increases fidelity.

[@danieldettwiler.official]

@@danielmauric8491 Absolutely. Because it's nicely compressed🙂

[@kryzs_kornhell]

Clean your desk dude. I can't focus on what you're talking.

[@danieldettwiler.official]

Good training to stay in focus while listening:-)

[@r0binSchneider]

The colours in this video look OVERCOMPRESSED, too. Really artificial look. Did you intend this? Your face looks really strange. Almost like a ghost 👻 Regarding the topic; that's an interesting perspective, but certainly not the only and of course not the only correct one. I regard compression as one of many tools to shape the sound and some styles really benefit from heavy compression while others don't. And then it's not always mandatory to adjust for improper / poor listening environments on the recipient's side. When you're a "Dienstleister" in the mainstream music business, yes of course.

[@danieldettwiler.official]

Colors Over compressed: I agree. I am trying out, how to make those videos, as many like them, in a way that is possible for me. I need to shoot with the iPhone (everything else is too complicated). This time I made the color correction on the iPhone, and it came out like this. Next time it will be better. I also found someone who might do the edits in the future, and maybe he can apply the color correction so that it makes sense. There are many reasons why to compress. For many however, it is not clear, that if they don't compress, upper harmonics (meaning all the subtle details in the mix) are lost at home. In my Mixing Bible, I talk in details about it.

[@kevinlentz7604]

Great Job ❤ I’m learning so much from you,love your Studio,such great work don’t think I’ve ever learned so much from one video,my content has gone from good to great

[@danieldettwiler.official]

@@kevinlentz7604 Grreat, also check out my mixing bible, to learn even more🙂 www.danieldettwiler.com/course/daniels-mixing-bible