Have you ever wondered how to get your mixes mastered really loud, without crushing all the life out of them ? Maybe you’ve tried a bunch of different limiters, and ended up with a flat, lifeless result – or just plain distortion ?
I remember when I was training as a mastering engineer back in the early 90s, I certainly felt that way. Luckily, I had some great mentors who shared their experience, techniques and strategies with me – and since then I’ve trained new engineers with those same methods – plus the new ones I’ve figured out for myself since.
Now, if you’re a regular Production Advice reader, you’ll already know I’m no fan of super-compressed masters, and I spend a lot of time trying to get people to keep more dynamics in their music.
But having said that, as a mastering engineer one of the most important things I do is to balance the levels of all the songs on an album, and often that means finding the “loudness sweet spot” where the level is high, the sound is punchy and powerful and I’ve kept the original feel of the internal dynamics.
I wrote about this in one of the most popular posts on the site:
But one subject I don’t cover in that post is multiband compression. That’s because there simply isn’t enough space in a blog post – or even, a series of posts !
So what is multiband compression, and why might you might want to use it ?