SHOULD I USE COMPRESSORS, LIMITERS AND EQ'S?

Compressors, limiters and eq's are some of the most important tools in a studio's rack. Judicious use of these processors can make the difference between a mediocre mix and great one. However they are probably the most abused and overused processors, and compressors and limiters are probably the least understood of all gear.

Compressing, limiting and eq'ing the entire mix is best left for the mastering process. A properly equipped mastering suite will have the finest quality processors available, and will usually have a variety to choose from both analog and digital.

Caveat: some music, such as heavy metal, is dependent on the whole mix being highly compressed to the point that the compression is as much an effect as it is a level control. In cases such as this it is often necessary for the engineer to mix with compression patched to the overall stereo output because extreme compression will actually change the mix.

The most critical use of these processors in the studio is to patch them to individual tracks that require them as opposed to the overall stereo mix. If the bass guitar, vocal, or whatever element of the mix won't sit in the mix properly - it wanders from too loud to too soft - then a compressor patched to that instrument or vocal will restrict it's dynamic range so it stays put.

If the engineer knows his gear, he will be able to compress signals that are too wide dynamically while they are being tracked. If you are recording to analog tape this will make a difference in the noise floor of those tracks, and it can also improve resolution in a digital track by keeping the average level of the signal higher on the recording scale.

Tip: If you are trying to record a signal that is more extreme in dynamic range than usual, it is often best to apply some compression while cutting the track - say 2 to 4dB of gain change - and then compress it more as required during mixdown as opposed to trying to compress a lot during one stage or the other. This will also allow you to experiment with different ratios and attack/release times during the two steps.

If you have your own recording set up and you already have a really good mic or two, one of the best investments you can make is in a high quality mic preamp and processing setup. This has been a secret weapon of professional musicians since the 1960's - if you only record with one or two mics at a time, you don't need an expensive 40 input console to make professional quality recordings, you just need a couple of really good mic pre's, eq's and compressors. For a small investment you can have a couple of recording channels that are equal to the best recording consoles made, and if you choose correctly they will beat the sound of mic pre's and eq's in consoles up to the $50,000.00 range and beyond.