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Curious how different producers route their compression settings in the context of a mix. Found one today that was fairly interesting.
Any other thoughts or techniques?

http://audio.tutsplus.com/tutorials/pro ... -8-part-1/

some inline, some in parallel in groups, some as a send-- depends on the track usually.

for a standard mix i have parallel comps set up on the drum bus and the synth bus, as well as a really punchy one on a send that various things can be sent to. how much, if any, they all get used depends on the song.

I thought this video had some good notes about parallell compression

ALL about ny compression baby!
I actually rarely use compression, and I usually will send a signal to a bus with compression and a notch filter so I keep the frequencies from 200-900hz clean. I find no need for compression on anything other than vocals, misc samples and drums. I'd rather spend the extra time fucking around with envelopes and automation for amplitude, because I try to synthesize my pads, bass, leads, etc to sound the way I want to, using formant filters and layering sounds using a subtractive synth to add harmonics I think sound good.
I'll usually make a reverb bus that I send most of my tracks to to simulate a room (blah blah, I'm sure most are familiar with this) and I'll slap a compressor on it to create a subtle pumping rhythm. It can work wonders sometimes.

psychedelicatessen wrote:ALL about ny compression baby!
I actually rarely use compression, and I usually will send a signal to a bus with compression and a notch filter so I keep the frequencies from 200-900hz clean. I find no need for compression on anything other than vocals, misc samples and drums. I'd rather spend the extra time fucking around with envelopes and automation for amplitude, because I try to synthesize my pads, bass, leads, etc to sound the way I want to, using formant filters and layering sounds using a subtractive synth to add harmonics I think sound good.
I'll usually make a reverb bus that I send most of my tracks to to simulate a room (blah blah, I'm sure most are familiar with this) and I'll slap a compressor on it to create a subtle pumping rhythm. It can work wonders sometimes.

That all sounds good

Something I just noticed while listening to a Deadmau5 track on Pandora was that he had a snare on every other kick, and every other kick ducked the mix, so what would happen is you actually heard that snare a lot crisper - Since I heard that, I've been thinking of doing this with the snares in my dubstep tracks, maybe not the safest thing, but in my tracks I usually make them loud enough.

So the plan is, Compress the Kicks a little, Compress the Snares a LOT and get some heavy sub in there with rythm & not a constant wall of low-freq