Apple Logic Pro /LogicExpress Discussion

Here is Bruce Swedien's comments from GearSlutz. Its pretty interesting :

Let's get this out in the open once and for all. Here is how I feel about 
compression...
Compression is for KIDS!!!! I think a little discussion is in order....

The compressor or limiter.

Before the introduction of the automatic gain control, or compressor, the 
only way the music dynamics could be controlled was by "riding" the gain, or 
volume control. Fortunately for us, the introduction of the compressor was not 
long after the introduction of electronic recording. 

Most compressors are threshold sensitive, which means that signals below a 
certain volume level are not affected by the device. This threshold level is set 
by the user. Signals above this threshold level are reduced in gain. This 
gain reduction level is also set by the user and is expressed as a Ratio. 
Compression ratio is expressed in DB's. It means that a certain change in input level 
will result in a certain change in output level. Response time is pretty 
obvious and I think you probably already know enough of the basics about 
compressor/limiters to get you through a session.There has from time to time been a 
trend to use compression on the mix buss of a mix, but to my ear this use of the 
device will cause a dulling effect of the sonic image. This use of the device 
will also allow transient peaks to cause attenuation of the whole signal 
including low-level high-frequency sounds. If the sound sources on your multi-track 
are properly recorded in the first place they will not need much limiting or 
compression.

Experiment with all the new signal processors. There is no such thing as 
wasted time spent messing around with new effects. The main thing is to learn what 
will work to enhance the sonic image of the music you are involved 
with.Developing your own musical ideas is what creating a unique "Sonic Personality" is 
all about. Don't let the technology control you. Try to remember that just 
because all these new 'toys' are there doesn't mean you have to use them. If they 
make sense in the music and add to the musical 'sense' of what you are 
working on then they belong there.

One last little thing about peripheral processors...I always try to think of 
how a record that I am doing will sound ten years from now. Will a processing 
device of today make it sound hopelessly dated in the future. I realize that 
that is hard to judge and I have no crystal ball to listen to. Think of it like 
this, it would be like doing a recording ten years ago and using one to many 
wah-wah pedals on the guitar parts. Don't put one to many processors on the 
music just because the effects are in the control room. By keeping the musical 
'sense' of a piece of music uppermost in our minds, the music that we record 
today will sound just as good years from now as it does to us today.

So...... to sum up......

Good transient response is especially important when recording acoustic 
instruments. This is one case where it’s extremely important for one to have 
equipment that is able to capture as much of the initial transient as possible, and 
all it’s accompanying delicate details.

In the music that I am normally involved in, I have always felt that good 
transient content is one of the very most important components of the recorded 
image. 

I would even go so far as to say that transient response has at it’s core a 
direct relationship to the emotional impact of a recording. Particularily in 
the main genre’s of music that I record.... namely R & B and ‘Pop’ recordings.

The faithful recording and reproduction of sound source transients makes the 
strong rhythmic elements in R & B and ‘Pop’ recordings much more dramatic. 

These are the elements that are so important, such as the ‘Kick’ or bass 
drum, the ‘Snare’ drum, hand-claps, percussion...etc. 

I think that well recorded transients give R & B and ‘Pop’ recordings a 
feeling of tremendous energy.

To me, the excessive use of compression and limiting diminish the drama of 
sound source transients in recorded music. Along that same line of thinking, 

I should also point out that I have never been(and probably never will be) a 
big fan of dynamics compression anywhere during the recording process.

To me, when R & B and ‘Pop’ recordings are over-compressed and over-limited, 
they lack the extemely fundamental qualities of both primitive energy and 
smooth high-frequencies. 

The reason that over-compressed and over-limited recordings lose high end 
energy, is that much of the sound energy in a recording is concentrated in the 
lower frequencies. 

These low-end signals will negatively influence a wide-band compressor’s 
operation, causing higher frequencies to be attenuated during peaks in level, 
making the music sound dull and lifeless. 

Personally, I love transients and what they do to dramatize music. Let them 
live! If a recording is over-compressed, it will always be over-compressed. In 
other words, it will sound dull and lifeless forever!


Bruce 


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