Dx compression implementation? Threshold automation or set'n'forget?

[3MediumBrown]

Hi guys,
Share your thoughts? My system atm is I'll have a compressor on each dx track (~10ms att and 95 rel) and automate the threshold for each clip so it's 2-3dB reduction at peaks, but this is quite time consuming.

I've considered one compressor on the dx bus instead, easier to automate one threshold for all the dialogue to hand, but this means any change to VCA & track faders would change the gain reduction every time?

I've also seen people set and forget a compressor across the bus and not open it once, How pedantic do you guys get with your comp levels? automate threshold for each clip or (assuming the dx clips are approx the same level) leave it alone on the track with an eye on the gr meter?

[tom_lowe]

Originally Posted by 3MediumBrown

Hi guys,
Share your thoughts? My system atm is I'll have a compressor on each dx track (~10ms att and 95 rel) and automate the threshold for each clip so it's 2-3dB reduction at peaks, but this is quite time consuming.

I've considered one compressor on the dx bus instead, easier to automate one threshold for all the dialogue to hand, but this means any change to VCA & track faders would change the gain reduction every time?

I've also seen people set and forget a compressor across the bus and not open it once, How pedantic do you guys get with your comp levels? automate threshold for each clip or (assuming the dx clips are approx the same level) leave it alone on the track with an eye on the gr meter?

I ride (Waverider is your friend) each track (and convert to clip-gain) into a bus which has a limiter on it to catch any overs. If you like the sound of compression one way is to have 2 buses with different settings and choose what goes to each bus depending on how it needs processing.

[soundworx]

I have one comp on the dialogue buss. Which I set for 2/3 dB peak taming. I only automate it when I hear it working too much. I don't like comp on the channel

[3MediumBrown]

Yeah I'll level my audio with faders but a lot of dial sounds too peaky to me so I'll use compression for the tone, ah Waverider looks similar to the waves vox rider have you compared them?

[3MediumBrown]

Originally Posted by soundworx

I have one comp on the dialogue buss. Which I set for 2/3 dB peak taming. I only automate it when I hear it working too much. I don't like comp on the channel

That's sounds like what I'm considering switching to for sake of workflow, have you ever had a problem with simultaneous dialogue lines? I would have thought individually compd dx could be more intelligible/less masked?

[Cheesehead]

That's my workflow too, one comp on the dialogue bus, just tickling the peaks and ride into it when necessary.

Eq on the individual dialogue tracks and clip gain for level control clip to clip.

Sometimes individual compression on tracks as well in difficult scenes with high backgrounds, clubs, parties etc.

I don't like the sound of too much compression or de-essing myself, but peoples tastes vary.

Depends whether its film or TV too, TV usually needs a firmer hand.

Which comp or multiband to use though, is a whole other issue and much discussed elsewhere.

[tom_lowe]

Originally Posted by 3MediumBrown

Yeah I'll level my audio with faders but a lot of dial sounds too peaky to me so I'll use compression for the tone, ah Waverider looks similar to the waves vox rider have you compared them?

Yeah, Waves actually is the copy. It's not as good as it records its own automation where Waverider actually writes volume automation (it acts as a HUI controller). Much prefer Waveriders controls too.

[3MediumBrown]

First off thanks for your replies guys, I've read posts from each of you before on other threads and they're always good.

[3MediumBrown]

Originally Posted by Cheesehead

That's my workflow too, one comp on the dialogue bus, just tickling the peaks and ride into it when necessary.

Eq on the individual dialogue tracks and clip gain for level control clip to clip.

Sometimes individual compression on tracks as well in difficult scenes with high backgrounds, clubs, parties etc.

I don't like the sound of too much compression or de-essing myself, but peoples tastes vary.

Depends whether its film or TV too, TV usually needs a firmer hand.

Which comp or multiband to use though, is a whole other issue and much discussed elsewhere.

Yeah I'm thinking I'll try bus comp instead next time,

Do you have a problem when 2 lines of different level overlap? (someone starts yelling over whispering)

Wait individual comp with high noise production dialogue? Why isn't that when is would be best to share gain reduction over the bus?

[3MediumBrown]

Originally Posted by tom_lowe

Yeah, Waves actually is the copy. It's not as good as it records its own automation where Waverider actually writes volume automation (it acts as a HUI controller). Much prefer Waveriders controls too.

Ah that's useful, so you let a pass run with the rider writing auto at the start of a mix?
Yeah I'm considering two Dx chains with compression (using the alt whenever there's overlapping lines with different levels), bussed with sends for easier switching automation and a VCA controlling the two as master Dx Level