The Great Mix Bus Compressor Plugin Shootout: Which One is Best for Your Stereo Bus?

View Single Page

[If you want to hear the runners-up in this category, you can download them here.]

Test C: Heavier Song With Aggressive Compression

For this third and final test, I went much further into the compressors and made them work a little bit. I think there are enough people that work this way and are looking for compressors that work well with that approach, so I set the compressors accordingly.

For the most part, I went with medium to slow attack times and medium release times; unless there was an auto release function, which I opted for instead. I also set the ratios a bit higher at 4:1 instead of the moderate 2:1 ratio as I had used before.

With high-density, hard-hitting tracks, the compression can be noticeable—and not always desirably so—so getting the release right was paramount. Oftentimes the auto release function allowed me to keep compressing 3-5dB without audible pumping or breathing.

(Since this mix was already done, I was unable to manipulate the mix to accommodate some of the compression changes. Were I mixing the song while applying compression, I could use more athletic automation moves to make things behave more predictably.)

For this test I used a song from a band from Germany called Nissefort for whom I mixed their upcoming record. The song is called Alone and will be available when they release the record sometime in 2017. You can go to their Facebook page to connect with them: https://www.facebook.com/Nissefort/

This song is also aggressive with tons of guitar, bass and drums, all fighting for space with the vocal. I thought that this type of song was more suited to be compressed more, without suffering some of the pitfalls of over-compression that occur on more dynamic songs.

Once again, in my own order of preference. (And you can click here to download the full resolution files.):

Brainworx Vertigo VSC-2 (C1)
Once again the VSC-2 works well on loud, aggressive music. It does some cool and noticeable things to the sound of the drum transients and seems to pull the guitars a bit forward while smoothing them out. It doesn’t appreciably soften the sound of anything either.

While I can clearly hear it working, it does add a cool sense of movement and excitement that really works on a track like this one. The use of the auto release function allows the compressor to be more agile in following the changing dynamics in the louder section.

Slate Digital-FG Grey (C2)
It’s no surprise that another SSL buss compressor was close behind the Vertigo. These sound pretty similar, though the Slate is not quite as open sounding on the top end. I also found that the Slate seemed better if I drove it a little further into compression than the Vertigo. Once again, I used the auto release function and this one felt pretty full and in-your-face.

Klanghelm MJUC Mk3 (C3)
This is technically a Variable Mu type compressor but it has characteristics that seem more like the SSL comp than the other vari-mu models in this compressor. Once again, it added a ton of low end thickness which made the track have an air of authority and power.

Chandler Limited Zener Limiter (C4)
This limiter sounded cool, but it took a bit more manipulation of the track to make it do what I wanted. The Zener Limiter has an unusual gain structure, and when compressing complex material like a full-on rock mix, it’s not always easy to keep it out of compression without turning something down in front of the limiter. Additionally, it’s not always easy to make up the lost gain after you trim it back to get the compressor to behave as you want. It’s a very aggressive and colored sounding compressor, so when it kicks in, it’s not subtle!

In order to get it inline with the other tracks and to make the compression work the way I needed it to, I had to turn down the front end of the track so it still hit hard on the loud part (see image 13). This is not a big deal when you’re mixing because you can account for this, but in this instance it was worth noting what needed to happen to make a true “apples to apples” comparison.

Despite all of that, the compression sounded so cool when the track got loud that I felt it had to be included. It’s not transparent or subtle but it does have a ton of character that many may find appealing.

[Once again, if you want to go deeper and hear the runners-up in this category, you can download them here. To see the exact settings used in any of these tests, click here.]

A Few Observations

Whenever I write an article or do a review of something, my main goal is to offer you, the reader, some perspective and information that you may not be able to find anywhere else. At the same time, I also hope that my own perspective will be given a shakeup that will force me to reexamine what I do and how I do it, so I can improve the quality of my work.

When it comes to 2-mix compressors, I have always been a bit old school, meaning that the compressor is there to enhance the sound of the mix but is not the thing that the mix lives or dies by. In the last 10-15 years however (and in some cases earlier) the 2-mix compressor has become elemental to the work of so many top-flight mixers that it was worth exploring what a more heavy-handed approach can bring to a mix. I can’t say that I would necessarily change the way I go about compressing the mix all the time, but I do see the appeal of the sound that it can create.

This experiment also made me realize that it would take a change in my mixing process if I chose to adopt a more aggressive style of compression on the 2-mix.

When I’m mixing, I work on my different instruments (drums, bass, guitars, keys, vocals, etc.), and then I work on the balance between them. After that, I work on different sections from loud to quiet to make the balances work, and to make sure that the transitions are smooth and musical.

Once that’s sorted out, I work to make certain that the static mix (before automation) is solid and works well without much further manipulation. Once everything has been accounted for, then I insert the 2-mix compressor on the stereo buss. At this point it is simply adding glue and enhancing the tone. I will then follow with automation to make the mix interesting and to make the compression work even better while accounting for the changes that the compressor may have caused.

By contrast, when I’ve worked with people who use a stereo bus compressor more aggressively, they tend to start the mix with the compressor inline. This way, every decision they make directly affects what happens when it hits the compressor, and they build the mix to deal with that.

On one hand it seems backwards to fight something from the beginning. But on the other hand, if you prefer the sound you can ultimately achieve by using more aggressive bus compression, then why not leave it in and deal with the issues that arise, as they arise? That way, you can hear the way the compressor reacts to your changes in real times, and adjust accordingly.

Pages:❮ Prev Page 1 2 3 4Next Page ❯View Single Page

  • George Piazza

    I have most of these compressors in my arsenal (Manley, Vertigo, Alpha, Fairchild, Shadow Hills, Kotelinkov), and a few others that I think are nice.
    I’ve had somewhat similar experiences with Mike Major, with slight exceptions.
    The Manley is nice for less aggressive music. It doesn’t always provide the thickness one might want with heavy rock mixes (though it can be a great group buss compressor before the main compressor). The tube sheen is excellent, complimenting the high end nicely. In 1:5 mode, it is really designed to be hit rather hard, as the compressor gives up after @ 10 dB, which lets drum transient through while retaining thickness.
    The Shadow Hills either works or it doesn’t. I think the mix has a lot to do with this, especially given the two compressors in this beasty (though you can use only one if you want). It also often makes a great group compressor, especially in situations where the transformer selection adds to the sound – like acoustic & electric guitars, bass, etc.).
    I almost never use the Fairchild as a mix bus compressor; it’s fast attack time and heavy coloration rarely works for any of my mixes. It is occasionally the perfect track or group buss compressor though.
    The Slate lineup is odd. Every now & then one of them works (usually the Grey – SSL or the Red – Focusrite); the mix knob can really help retain some of the ‘clean’ sound, though I’ve noticed phasing problems with earlier versions (Slate may have fixed this by now). I do not find the distortion on the Mu very convincing; it sounds a little cheap to me.
    The Elysia Alpha Compressor is a kind of ‘desert island’ choice for me. It is so flexible, it can deal with numerous needs, especially with it’s feedback / feed forward selection, auto attack & auto release, mix feature and mid-side mode. Not a lot of coloration per se (unless you use the peak limiter function), but for thickening up & widening, it does the job.
    The Vertigo is very nice; the gain knob adds a subtle grit; it has all the settings of an SSL, but sound better than wither the UAD or Wave SSL Buss Compressor. It is not always the right tool for the job, but it is right there with the Alpha & Manley. The auto release is excellent. I could live with these three if necessary.
    I have also successfully used the UAD Neve 33609, the PSP MasterComp and/or Vintage Warmer, the Voxengo Polysquasher and the Sonnox Compressor (+ gate / expander / warmth / sidechain).
    The free guy – Kotelnikov – is very clean & flexible; well worth the download.
    Izotope’s Ozone has improved over the years, but it is a bit of a beast to deal with; besides, multiband is not the topic here.
    My favorite secret weapon for the main buss is the DGM Essence. It is not only an excellent mastering De-Esser; it also does various parallel compression tasks better than anything else I have tried. I can always dig out 2 – 5 more dB with a mix and still sound transparent with it. It includes excellent presets by Bob Katz for various parallel compression needs, including bass, mid or treble thickening (tonal parallel compression) and an excellent starting point for the transparent parallel job. A real hidden gem!

  • Justin C.

    Thanks for sharing this take George! Glad to have read it. I’ll have to check out the DGM Essence. Not too familiar with it yet myself.

  • Mike Major

    I’ve never tried the DGM. Now you’ve piqued my interest, damn it…

    You’re not helping!

  • Eddie TX

    Great work putting this shootout together! Thank you for doing it.

    Was wondering if you’ve tried the new API 2500 from UAD (I assume you’ve tried the Waves version) — it’s really something.

    Also, there are very interesting things coming out of Acustica Audio (of Nebula fame) lately. Their Coral, Lime, and Sand compressors are among the most hardware-like plugins I’ve ever used. If you can figure out their demo procedure, they’re well worth checking out.

  • jes

    This was a great article, thank you!
    I use mostly UA (I mean a *lot* of UA, and almost always in Pro Tools, FWIW) and seem to change up that 2-bus compression almost per project, but I have to say I do like the Shadow Hills. In your example A test, one thing I also hear also is more of the ambience in A2 with the Shadow Hills that I don’t hear in the others.

  • Mike Major

    Thanks Eddie! Glad you liked the article. It was quite a bit of work to put it together but I learned a few things along the way, which I didn’t expect.

    I have tried the UAD API 2500. I was going to include it in the shootout but just couldn’t make it do anything that I liked, so I left it out. I had so many others to choose from (probably too many) that I felt it wasn’t necessary to include. Now having said that, it may work well for some folks and I know that some engineers love it and swear by it. Just not my taste, I guess.

    I haven’t seen the Acustica stuff yet, so I guess I have to go check that out now.

  • Mike Major

    Thanks Jes! Glad you liked it.

    The ambience difference you hear probably has to do with the interaction between release times of the optical comp and the VCA comp. Since they’re different and the gain reduction circuits respond differently to the transients, it must have seemingly extended the decay of a reverb and brought it forward, thus making it more apparent. At least, that’s what I think is happening…

    I probably use the Shadow Hills more than anything, even with all of the choices I have. The combination of the two comps in series is pretty powerful and usually transparent. Plus, being able to change the output transformer can really affect the tone of the whole mix positively. Sometimes it just doesn’t do the trick, so I look elsewhere, but more often than not it works perfectly.

    I find that the choices available are more fully exercised when I’m mastering because the different comps offer more tools with which to shape things. When I’m mixing or mastering my own stuff I don’t need as much variety because I have a way of putting the mix together that is well planned before I ever insert the two mix comp; in other words, it doesn’t make as big a difference overall for me personally. But now and then, something weird ends up on the 2-mix!

  • Eddie TX

    Cool, Mike. Thanks for the reply. Yes, the API doesn’t work on everything, but when it does …

    Acustica has some unique tech and it’s finally coming to fruition in the form of usable plugins. They do have some work to do on the whole customer experience — it’s a pain just to download and authorize a demo — but wow, the sound. Hit me up if you have any questions about getting set up with those. Thanks again for the shootout!

  • Mike Major

    Yeah, the API was a head-scratcher for me, honestly. I have tried it a dozen times and can’t ever get to the point that I’m like “OK! That’s it!”. I know some people love it.

    Since you posted this I looked at the Acustica stuff and it looks really intriguing. Lots of cool things that appear to be based in reality but with a twist. I will be trying the some demos here soon. Thanks for the tip!

  • Adrian

    These differences are incredibly marginal. Not worth the headache.

  • Mike Major

    Hi Adrian. Are you listening on a good set of monitors or high quality headphones? The differences are pretty significant in some of the samples. I agree that when they’re not driven too hard they are more similar, but the differences in tone and dynamics control should be noticeable.

  • denis la malice

    I must say this like this : this shoutout makes very little sense since the way you mix one song will be influences by the comp you will use as 2buss, so it is much more like some mastering comp shoutout and even that is flawed since some will react better one one type of mix than one other.

    Experience with working with one typical pluggin will dictate your choice, not a shoutout.

    Personal taste also : for instance, I’m not big with the vari-mu as buss compressor, I doubt I would chose the pluggin for that matter, I base this choice on many attempts.

    I always used the SSL buss (not big with any pluggin versions) and loved it : but it is not a transparent one at all, so it might have sounded terrible in this shoutout, but have you “mixed” the track in it at the beguining of your test, it might have ended with the best results.

  • denis la malice

    Now that said, out of experience (not this shoutout), I like the Shadow Hill quite a bit. 🙂

  • Greg Strickland

    Perhaps no mix buss compression is best. Particularly for a radio mix or any mix likely to receive audio processing downstream. Should you presume your mix sound is the sound heard by the entire audience?

  • Mike Major

    Sometimes that’s true, but I like what a comp does to the sound of the mix. I am always cognizant of how things will inevitably change downstream (mastering, radio, iTunes, etc.) and try to mix in a way that minimizes the differences between all of the delivery media. But ultimately, I just like how using a comp makes things feel more together and complete. Also, if I control the way the dynamics are presented then I’m less likely to be surprised by how some downstream process affects them. I can remember some stuff I mixed way back when that really sounded strange on the radio. There’s ways to fix that and compression is one of them.

  • Mike Major

    Well, honestly, the whole purpose of a shootout is to directly compare the way the different options perform under the same conditions. Otherwise there’s no reference point. Without a reference point then it’s not an apples to apples comparison.

    If I stand in front of a mirror and try on 5 shirts then I know exactly what those shirts look like on me at that point and in that lighting. Knowing this I can then decide which one I would wear to go the movies, which one would be best for a job interview, which one makes me look fat, etc.

    Likewise, I can compare how each of these comps react to the same music, with basically the same settings, and then extrapolate how that would work in other situations that I may need to use a compressor. It’s like any audio gear that we ever hear: you listen, make a judgment and then file it away in the memory banks for later recall: “that would work great on this type of mix”, or something like that.

    Not everyone has experience with all of these compressors, so I am offering a direct comparison under specific conditions so they can hear what is different and what is the same, that’s all. It’s somewhat subjective because I had to set the compressors, but I also tried to be as scientific about the process as I was able to do and still fulfill the goal of the shootout-which is to show how a bunch of different compressors sound on a mix.

    And trying to mix a song for each compressor would have taken a month and would tell the reader nothing useful except that I could use a different compressor on a bunch of different mixes. That’s not illustrative in any way.

  • denis la malice

    I agree with you mostly. I just wanted to point the limitations of this particular shoutout . best regards

  • Ray Tubes

    I like the Alpha’s transient punch.
    The kick is tight, solid, while retaining good bottom end and the guitars are nice and spanky.
    The image is quite wide, and it is interesting how the triangle is much more forward than the Shadow Hills.

    Shadow Hills has a nice overall balance, sounds a bit wider than the Alpha, good transient response though less in your face feeling.
    I suspect this is the Steel trafo setting as opposed to the Nickel and feel the Nickel would sound more forward.

    As for folks not mixing into a 2 Bus comp, many of is do even if the mix goes out uncompressed.

    The balance of the mix and EQ tends to be different when mixing into compression and this can be a great way to have a more polished mix for your mastering engineer to work with.

  • WayneD

    Brilliant thanks so much for getting this together esp supplying files. Very helpful.

  • Null Static Void

    Guess I’m a little late to the party.
    Surprised you skipped over the other UAD offerings. I’ve used their 1176 and LA2A plugins for 2 buss for years. The 1176 is tricky, but it sounds right on certain mixes.
    The Neve 33069 though seems perfect for the job. It can do overdriven, or clean and is quite adept at making just about anything sound 110% thicker.

    I could name a bunch of other UAD plugins, and that is kind of the thing. You could easily write a whole article on just UAD 2 buss plugins.

    btw, I always throw an EQ on there too.

  • Steven Adams

    sknote’s SDC is a fantastic emulation of the Shadow Hills!

  • Marcus Mittilä

    This was a great read, interesting comparisons! Thank you!

  • Dangenoir

    Wow !
    I found the complete biaised, zero level matching, inconsistent, subjective, alleatory ; and since you a priori knew that all along by pre-retracting in the “The Same, But Different” paragraph!
    Still you took the ‘grand-risque’ of posting it, while it could only be a failing (Shootout) with the impossibility of objectively hearing anything but three 30 seconds clips, that gave us the chance to perhaps discover new bands with different compressors applied to them. Sadly, all uncompressed clips sounded more balanced, with more definition and…….more dynamic !
    Thank you for your courage, and for having sharing links for all bands (it was a nice touch) 😉
    SonicScoop.com is one of these rare web area where you can actually REALLY LEARN, mostly knowledgeable Audio-Engineering vitalizing tips, tricks, hints, concepts, ideas and Spooks ? As a DSM-V (musical edition) !

  • Avila Marcos

    For me Manley Variable Mu Compressor keeps winning in my daw, i use it track by track and on the mixbus, gotta love the fairchild as well

  • Avila Marcos

    indeed

  • Paul

    Would have liked to hear some jazz or soul/blues. The acoustic pop wasn’t a good indication for me.

  • Richard Domina

    Hi Mike and thanks for this shootout. Have you taken a listen to Acustica Audios ‘Ultramarine’ 670? Curious.