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In this course, author Bobby Owsinski reveals industry tips, tricks, and techniques for producing professionally mixed audio on any digital audio workstation. He offers recommendations for setting up an optimal listening environment, highlights the most efficient ways to set up and balance a mix, and shows how to build a powerful sound with compression. The course also explains how to master the intricacies of EQ; incorporate reverb, delay, and modulation effects; and generate the final mix.
Hypercompression is severe over compression. Now although it seems common today it's undesirable because it robs the song of any life. That's because there are no dynamics left and dynamics are part of what makes music interesting. In this video, I am going to demonstrate why hyper compression can make your mix fatiguing to listen to and show you how to eliminate it. So take a look at this graphic. You can see from the Dynamic one on the top that there's a lot of peaks and there is a lot of valleys. While the Hypercompressed one has virtually no valleys, you can see it's just flat-lined at the top and at the bottom, so there are no dynamics whatsoever.
Radio stations have proven a long time ago that when you do this. It causes listener fatigue. Now when a listener gets fatigued they can change to a different song in less than a minute, so that's not exactly what you want to have happen with your mix. Remember the compression should be used to control dynamics not eliminate them. Let me give you an example of how we get hypercompression so you know what to stay away from. Let's listen to the mix first of all, this is with no compression whatsoever. (Music playing) Let's bring our compressor up, put it in the circuit and now watch as I dial in Hypercompression.
(Music playing) Now let me play for you Bypassing the compression.
(Music playing) Don't be mislead by the difference in the level between the hypercompressed version and the uncompressed version, because in fact, that's one of the things that happens with hypercompression. We're able to get a much louder signal, a lot of people like that, but the problem is we also rob the song of its dynamics.
Just remember with compression a little goes a long way. Now there is another thing you consider here. If you're going to have your mix mastered, now the worst thing you can do is over-compress it in the hyper compression, because then there's very little for the mastering engineer to work with. You are a lot better off to provide a mastering engineer with a mix with no bus compression or very little and that will enable him to use his expertise to get you the very best product. So to sum it up hypercompression is severe over compression that robs the mix of any dynamics. This causes listener fatigue and should be avoided at all costs.
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