When to use multiband compressor?

[Danny_79]

Hi! I very seldom to almost never see the benefit of using a multiband compressor. But, i am curious and willing to learn more. Under which circumstances do you guys like to use one? I do use dynamic eq on a couple of soundsources but then we're talking one or maybe two bands. I kinda feel it complicates more than it helps having 3 or even more bands. Hit me with suggestions! Thanx in advance

[Stuart79]

Good article on the topic here:

https://www.soundonsound.com/techniques ... ompression

[Philbo King]

I rarely use them. I consider them an extreme tool for extreme situations, such as mastering a bad mix when stems are not available.

The danger is that once you become handy with a tool, such as a hammer, every problem starts to look like a nail.

[Danny_79]

Good article on the topic here:

https://www.soundonsound.com/techniques ... ompression

Cheers! I'll check it out

[Danny_79]

I rarely use them. I consider them an extreme tool for extreme situations, such as mastering a bad mix when stems are not available.

The danger is that once you become handy with a tool, such as a hammer, every problem starts to look like a nail.

That's what i am sort of thinking too. But if the mix is decently done, i don't think they are needed

[amanise]

Yes - that is a good article isn't it! Good spot! I thought I was being a bit of a donkey just using one band at a time on a multiband - but turns out it was the right thing to do! Yay - go me!

[The Elf]

There's a subtle difference, but I think of all multibands as 'dynamic EQ' - and that's the way I use them. I rarely use multi-band compression for compression's sake - I wouldn't rule it out, but I just hardly ever find the need.

[Drew Stephenson]

OK, there is one use of a multi-band compressor that I discovered for myself and I don't think I've ever read of anyone else using so, at the risk of being excommunicated, I shall share it here.

In absolute contradiction to the close of Mike's excellent article linked above, I stick a multi-band compressor on my master bus. It has six bands with the cross-over points chosen according to the track but generally covering low, lo-mid, mid, hi-mid, high and very-high areas of the spectrum.
The thresholds are then set so that each band is applying 1-2 dB of gain reduction and auto-gain is engaged.
I'll then dial the whole thing in at about 50-50 dry/wet (again, song dependent).

Why? (You may be asking.) Well a few years ago I trialled Gullfoss* and liked what it was doing but I couldn't justify the outlay at the time so I wondered if a manually configured MBC would do the same job.
The answer was 'yes, to a limited extent'. What I get is a better separation across the stereo spread, more space around the instruments and a mix that seems a little more alive.

I await your collective disgust and distain.

* I have Gullfoss now, it does a slightly different thing and is a bit more configurable. But I still use the MBC on the master bus.

[Sam Spoons]

Many (many) years ago I took my pub/covers band into a commercial studio* to record a two track demo CD. The owner/engineer was a long time friend of mine and had a device he referred to as "the turd polisher". Some years later I got the opportunity to buy some kit from said studio and [cue Jeremy Clarkson voice] "the turd polisher" was the one bit of hardware I really wanted.

I still have the TC Finalizer Plus I bought and it still, to my ears, adds a little 'magic dust' to my mixes in that it makes them just a little better sounding than they do without it. I'm sure a better mix engineer than me could do at least as well without but it works for my with my limited mixing skills.

[Sam Inglis]

There's a subtle difference, but I think of all multibands as 'dynamic EQ' - and that's the way I use them. I rarely use multi-band compression for compression's sake - I wouldn't rule it out, but I just hardly ever find the need.

Likewise. I rarely use a multiband across the entire spectrum but I use FabFilter's Pro-MB as a dynamic EQ all the time.

For me, the point of them is to deal with frequency problems that aren't there all the time. So for example if you have a vocalist who gets very strident on loud notes, you can set up a multiband so that it pushes 2kHz down only when that's needed. Or you can set it up to control the low end on a bass, or a kick drum, or a full mix, without making it sound thin.

[The Elf]

FWIW the wondrous 'Frequency', bundled with Cubase, is capable of 8 bands of dynamic EQ. When I'm trying to tame tight frequency bands in a transparent manner this is my EQ in shining armour. I find that many, if not most, Cubase users I speak with are blissfully unaware of this gem.

Sorry, non-Cubasers, but I thought I should mention it.

[James Perrett]

Like everyone else, I rarely use a multi-band compressor and, if I do, it is normally just one band that is active. However, I am finding Reaper's ReaFIR to be very useful in compression mode as it gives much finer control over which sounds you are applying the effect to.

[Zukan]

Since no one else has, I'll blag my podcast on this very subject that covers FabFilter's MB using both compression and expansion:
https://www.soundonsound.com/techniques ... os-podcast

[Matt Houghton]

I use multiband compression rarely. When I do it's usually either for low-end control, or as a backing vocal group compressor when there are lots of stacked BV parts. Just a few dB of gain reduction often works wonders in gelling those parts together without crushing the life out of everything.

FWIW the wondrous 'Frequency', bundled with Cubase, is capable of 8 bands of dynamic EQ. ...
Sorry, non-Cubasers, but I thought I should mention it.

Yeah, I also tend to reach for dynamic EQ before multiband compression. For those in a DAW without a dynamic EQ, I still rate TDR Nova very highly. Even the free version. I tend to use Fabfilter's Pro Q3, though, even when in Cubase.

Frequency's very capable and I love that you can EQ the M and S or L and R components separately. As you say, it's a gem of a bundled plug-in. But I find the GUI frustrating. The gain reading per band doesn't seem to match what the scale on the left is telling me (I checked just now to see if C14 sorted it, but it says in the info box I'm applying a 6dB boost when the node is positioned at +12dB according to the left-hand scale). I'm on a Mac, btw, not sure if this is the case in Windows? I also wish the GUI and the scales were resizeable and that you could access more functionality by right-clicking on a node, rather than use the control section at the bottom.

[Zukan]

Yeah, I also tend to reach for dynamic EQ before multiband compression. For those in a DAW without a dynamic EQ, I still rate TDR Nova very highly. Even the free version. I tend to use Fabfilter's Pro Q3, though, even when in Cubase.

I have all of Fabien's plugins and use Nova GE, Vostok, Slick before any other eqs. His new range: Infrasonic, Elliptical, Ultrasonic and Arbiter are wonderful.

[Uncovered Pitch]

As opposed to most posters on here, I use multi-band compressors a lot—on single tracks, groups/busses and the mix buss. They are great to balance out a sound or mix by reigning in the bad bits and boosting lost detail. This includes multi-band limiters and OTT-style upward compressors as well.

Of course, like with everything in music production, there's a trade-off: when overdone, the frequency spectrum can be pleasingly full, but the differences between the instruments get ironed out too much so there's too much glue vs separation. In those cases, the wet/dry knob is your friend.

Finally, one of the most in-demand mix engineers in the world, Serban Ghenea, apparently uses multi-band compression in his 2-buss chain. Of course that doesn't mean anyone has to follow suit, but I think it does show that it's not only for people who can't mix properly!

[Matt Houghton]

Yeah, Uncovered Pitch, that's all good advice Not the styles I'm really mixing these days, but I totally get why you'd work like that (and I'm totally in awe of what John Hanes and Serban Ghenea do!)

[tea for two]

I use multi-band compressors a lot—on single tracks, groups/busses and the mix buss. They are great to balance out a sound or mix by reigning in the bad bits and boosting lost detail. This includes multi-band limiters and OTT-style upward compressors as well.

Serban Ghenea, apparently uses multi-band compression in his 2-buss chain. Of course that doesn't mean anyone has to follow suit, but I think it does show that it's not only for people who can't mix properly!

Zuke Zukan mod on ere SoS foruume posted on this thread, Zukan is a Grammy Judge for audio engineering. Zuke may well have been one of the Grammy Judges when Serban Ghenea won Grammy for Taylor Swift's Midnights in 2022, Folklore 2020.

Another way I use multiband compression in some of my instrumentals is to sometimes fine tune the shape the tone of hard hitting sounds as Kicks; Bass; Hard Rock Guitars Metal Guitars : which for me Electric Guitar fine shaping toning it with multi band compression is faster than going thru untold amp cab sims combinations.

[Danny_79]

OK, there is one use of a multi-band compressor that I discovered for myself and I don't think I've ever read of anyone else using so, at the risk of being excommunicated, I shall share it here.

In absolute contradiction to the close of Mike's excellent article linked above, I stick a multi-band compressor on my master bus. It has six bands with the cross-over points chosen according to the track but generally covering low, lo-mid, mid, hi-mid, high and very-high areas of the spectrum.
The thresholds are then set so that each band is applying 1-2 dB of gain reduction and auto-gain is engaged.
I'll then dial the whole thing in at about 50-50 dry/wet (again, song dependent).

Why? (You may be asking.) Well a few years ago I trialled Gullfoss* and liked what it was doing but I couldn't justify the outlay at the time so I wondered if a manually configured MBC would do the same job.
The answer was 'yes, to a limited extent'. What I get is a better separation across the stereo spread, more space around the instruments and a mix that seems a little more alive.

I await your collective disgust and distain.

* I have Gullfoss now, it does a slightly different thing and is a bit more configurable. But I still use the MBC on the master bus.

But if you want 1-2 db gain reduction on all bands then why not use a "normal" compressor? I guess i don't see the point in compressing them individually if you want the same settings for the whole spectrum?

[Danny_79]

Like everyone else, I rarely use a multi-band compressor and, if I do, it is normally just one band that is active. However, I am finding Reaper's ReaFIR to be very useful in compression mode as it gives much finer control over which sounds you are applying the effect to.

I am aware of Reafir as i am a reaper user but is it ever like a dynamic eq/multiband kompressor?

[Danny_79]

I use multiband compression rarely. When I do it's usually either for low-end control, or as a backing vocal group compressor when there are lots of stacked BV parts. Just a few dB of gain reduction often works wonders in gelling those parts together without crushing the life out of everything.

FWIW the wondrous 'Frequency', bundled with Cubase, is capable of 8 bands of dynamic EQ. ...
Sorry, non-Cubasers, but I thought I should mention it.

Yeah, I also tend to reach for dynamic EQ before multiband compression. For those in a DAW without a dynamic EQ, I still rate TDR Nova very highly. Even the free version. I tend to use Fabfilter's Pro Q3, though, even when in Cubase.

Frequency's very capable and I love that you can EQ the M and S or L and R components separately. As you say, it's a gem of a bundled plug-in. But I find the GUI frustrating. The gain reading per band doesn't seem to match what the scale on the left is telling me (I checked just now to see if C14 sorted it, but it says in the info box I'm applying a 6dB boost when the node is positioned at +12dB according to the left-hand scale). I'm on a Mac, btw, not sure if this is the case in Windows? I also wish the GUI and the scales were resizeable and that you could access more functionality by right-clicking on a node, rather than use the control section at the bottom.

I am aware of TDR Nova as well. Good tool

[Danny_79]

As opposed to most posters on here, I use multi-band compressors a lot—on single tracks, groups/busses and the mix buss. They are great to balance out a sound or mix by reigning in the bad bits and boosting lost detail. This includes multi-band limiters and OTT-style upward compressors as well.

Of course, like with everything in music production, there's a trade-off: when overdone, the frequency spectrum can be pleasingly full, but the differences between the instruments get ironed out too much so there's too much glue vs separation. In those cases, the wet/dry knob is your friend.

Finally, one of the most in-demand mix engineers in the world, Serban Ghenea, apparently uses multi-band compression in his 2-buss chain. Of course that doesn't mean anyone has to follow suit, but I think it does show that it's not only for people who can't mix properly!

May i ask which soundsources you use them on? Appart from the whole mix of course

[adrian_k]

OK, there is one use of a multi-band compressor that I discovered for myself and I don't think I've ever read of anyone else using so, at the risk of being excommunicated, I shall share it here.

In absolute contradiction to the close of Mike's excellent article linked above, I stick a multi-band compressor on my master bus. It has six bands with the cross-over points chosen according to the track but generally covering low, lo-mid, mid, hi-mid, high and very-high areas of the spectrum.
The thresholds are then set so that each band is applying 1-2 dB of gain reduction and auto-gain is engaged.
I'll then dial the whole thing in at about 50-50 dry/wet (again, song dependent).

Why? (You may be asking.) Well a few years ago I trialled Gullfoss* and liked what it was doing but I couldn't justify the outlay at the time so I wondered if a manually configured MBC would do the same job.
The answer was 'yes, to a limited extent'. What I get is a better separation across the stereo spread, more space around the instruments and a mix that seems a little more alive.

I await your collective disgust and distain.

* I have Gullfoss now, it does a slightly different thing and is a bit more configurable. But I still use the MBC on the master bus.

But if you want 1-2 db gain reduction on all bands then why not use a "normal" compressor? I guess i don't see the point in compressing them individually if you want the same settings for the whole spectrum?

I guess the difference is that with a multiband it’s only compressing a specific frequency range when triggered rather than the whole spectrum. Different ranges can be triggered at different times, so at one point it could just be the (say) 100Hz to 300Hz, at others the 2.5KHz to 5KHz etc.

[James Perrett]

I am aware of Reafir as i am a reaper user but is it ever like a dynamic eq/multiband kompressor?

Effectively it is a 4096 (or whatever setting you choose) band compressor if you use it in compression mode.

[Stuart79]

But if you want 1-2 db gain reduction on all bands then why not use a "normal" compressor? I guess i don't see the point in compressing them individually if you want the same settings for the whole spectrum?

Because the different bands are reacting to different things. If I use all the bands on a multiband* I'll have them set the same most of the time. On a whole mix it can sound more transparent than standard compression, especially if you have something quite bass/bass drum heavy and you don't want that to trigger the compression for everything. Equally, I work a lot with synths where the resonant peak of the filter moves around the frequency spectrum a lot. Sometimes you want to compress but you don't want to compress the whole signal - a multiband can work wonders. (Although something like soothe is also very good for this.)

*My multiband of choice is Pro-MB. You can have a lot of bands. I rarely use more than three. Four at a push.