Choosing your compressor plugin

[DonaldM]

Something I've wondered about for a while, so I thought I'd just ask you Pros out there. How do you decide which of your (probably)dozens of compressor plugins you're going to use on a particular track. Like most of you I'm sure, I have several compressor plugins. I don't have a "go to" one yet. I keep trying different ones on different kinds of tracks. I understand how compression works, but the "art" of selecting the right compressor for a track is a different animal. I would be interested in hearing how some of you guys make that choice.



I'm not asking which make/model compressor you think is the "best"...but rather what you look for in selecting one you want to use for a particular track.


Thanks.

[EGS]

I go by sound.

Waves RennComp always sounds good & is low latency - i.e. track-thru-plug works fine. I used to like Avid black 1176 until I discovered IK Multimedia black 1176 simply sounds better. Avid Smack, IK Multimedia red opto-comp and IK white LA-2A all good. Anything can do the job, really, in my opinion. Different ones for each need, no one size fits all. Adjust attack/release times, ratio and knee if available. Sometimes I like a good multi-band too, especially for mastering.

Super secret tip: sometimes NO compression is the answer.

[JFreak]

In very top studios most common plugin is still the hardware insert.

[DonaldM]

Originally Posted by EGS

I go by sound.

Waves RennComp always sounds good & is low latency - i.e. track-thru-plug works fine. I used to like Avid black 1176 until I discovered IK Multimedia black 1176 simply sounds better. Avid Smack, IK Multimedia red opto-comp and IK white LA-2A all good. Anything can do the job, really, in my opinion. Different ones for each need, no one size fits all. Adjust attack/release times, ratio and knee if available. Sometimes I like a good multi-band too, especially for mastering.

Super secret tip: sometimes NO compression is the answer.

I get that no one size fits all. I like my IKM black 1176 and the White LA2A as well. I use the latter a lot on vocals. Seems to really even things out nicely. You're right also about the no compression - or very very minimal. I just sometimes wonder if there might be certain things I should be listening for when selecting a compressor for a particular track.

I have the most difficulty in using the MB compressors. I find it difficult to find the right bands to set the different zones at. I just go by my ears.

[albee1952]

I have some favorites, and here's the what and why for me
1-SMACK!_this is Avid's version of an LA-2A and it works really well on voices
2-BF76- works well on acoustic guitars and I also use it before SMACK! on vocal tracks
3-Slate's Distressor(with Slate's Neve EQ in VMR) is great on a drum compression bus. The Distressor allows for adding a distortion element and the EQ is good for gentle added low-end punch, or a slight dip around 500Hz.
4-Waves Puigchild(Fairchild) has some nice character for electric guitars when needed.

R-Comp is very popular, but I just find myself using the above. The only other "2 cents" I have is to avoid the stock Avid Dyn3. In critical listening, it caused some distortion that was not pleasant at all.

[K Roche]

I suppose because I have a great stereo HW 2 Bus compressor and because I am usually am not doing a lot of different instruments.

Depending on how sparse the arrangement is I may not put a comp on individual instruments
When I do put one on the tracks, I usually use the Avid Bundled Fairchild
On those few sessions where I have drums,,, on the kick and sometimes the snare ,I will put the Complete Plug in Bundle, BF 76

[DonaldM]

Originally Posted by albee1952

I have some favorites, and here's the what and why for me
1-SMACK!_this is Avid's version of an LA-2A and it works really well on voices
2-BF76- works well on acoustic guitars and I also use it before SMACK! on vocal tracks
3-Slate's Distressor(with Slate's Neve EQ in VMR) is great on a drum compression bus. The Distressor allows for adding a distortion element and the EQ is good for gentle added low-end punch, or a slight dip around 500Hz.
4-Waves Puigchild(Fairchild) has some nice character for electric guitars when needed.

R-Comp is very popular, but I just find myself using the above. The only other "2 cents" I have is to avoid the stock Avid Dyn3. In critical listening, it caused some distortion that was not pleasant at all.

I haven't actually used SMACK! on anything. I should take a closer look at it and wha tit does. I agree about the Avid Dyn3. I have used the Avid Pro Compressor quite a bit though. I like how it sounds, especially on drums.

[JFreak]

Smack! is great on TDM

[Bookerv12]

Originally Posted by EGS

I go by sound.

Waves RennComp always sounds good & is low latency - i.e. track-thru-plug works fine. I used to like Avid black 1176 until I discovered IK Multimedia black 1176 simply sounds better. Avid Smack, IK Multimedia red opto-comp and IK white LA-2A all good. Anything can do the job, really, in my opinion. Different ones for each need, no one size fits all. Adjust attack/release times, ratio and knee if available. Sometimes I like a good multi-band too, especially for mastering.

Super secret tip: sometimes NO compression is the answer.

Ha!
So true.

My bit of advice:
Think of compression almost like reverb.
You don't want it on everything or you end up with....nothing.
Start compressing just the vocals so you can hear what it's doing.
Over-do it!
See what the singer sounds like in the mix compressed and not compressed.

I wish there were a tried and true way to pick a compressor, but there isn't.
There are exceptions of course, once you get familiar with the sound.

Personally, when tracking, I get compression to tape and rarely add comp plugs in the mix.
This is hard, as you have to make decisions early on.

Most of my client PT sessions come in with compression on every channel and too much muddy verb on everything.
I never tell them anymore, but I always deactivate every compressor and the mix always comes to life. Always.

I guess the answer to your question is.....Listen to the mix with no compression and decide which elements could benefit from it.

Most of my beginner clients also make the giant mistake of mixing into a "go to" buss compressor (because they read to do it somewhere) and it goes down hill from there.

[64GTOBOY]

Originally Posted by DonaldM

Something I've wondered about for a while, so I thought I'd just ask you Pros out there. How do you decide which of your (probably)dozens of compressor plugins you're going to use on a particular trac
I'm not asking which make/model compressor you think is the "best"...but rather what you look for in selecting one you want to use for a particular track.

Thanks.

I choose compressor based on the end I am trying to achieve which is to say that I will use an 1176 on something that I want to have the sound of the amplifier on as most if not all of the emulations have that saturation modeled into the plugin. So bass and kick, snare use this type a lot.

I like to use the Fairchild/Puigchild type to push stuff to the front or rear, just cause I can do it very quickly with that type. I also like this type on buses for transient rounding and a bit of glue.

I like to use the Ren comp for quick and dirty level control and sometimes electric guitar taming.

I like LA-2A types on vocals and some acoustic instruments especially percussive stuff good warmth is the way I think of it.

More clinical stuff I use Pro Comp or , Waves BSS DPR or the API 2500 are my go tos, depending on what instrument(s) .

DBX 160 style on drums and bass for the most part.

Neve style for acoustic guitars and various midrange type instruments.

SSL type on buses, sometimes API on buses, PIE for electric guitars for tone shaping usually on a bus

Obviously, I switch stuff around but that's kinda my personal usage and/or starting point