# Recommended all round EQ and compressor for orchestral scoring?



## Bunford (May 19, 2017)

I'm setting up templates at the moment and looking for some opinions and thoughts on what you guys think are the best plugin EQs and compressors out there that work well across most things, particularly orchestral scoring type music?

Also, feel free to suggest anything else beyond EQs and compressors if you feel the desire to do so


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## rvb (May 19, 2017)

EQuilibrium by DMG seems to work great with orchestral type music. I use it all the time on my mastering chain. Fabfilter Q2 for all the rest seems to be the best for me and to my hears. Compressors is an ongoing search for me. Not really a 'best' out there, currently quite digging the rather cheap compressor for individual tracks: MJUC by Klanghelm.


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## Jaap (May 19, 2017)

I really love the Fab Filter EQ and coompressor for my orchestal works. Also Izotope Neutron I can recommend highly.
Slate Everything Bundle give you some great tools as well (the verb is splendid!)


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## synthpunk (May 19, 2017)

Fab Filter for surgical

UAD, & Soundtoys for vibe

Vahalla for bargain verbs

Sonnox for stereo buss


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## sostenuto (May 19, 2017)

https://www.plugin-alliance.com/en/products/bx_console.html


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## Chandler (May 19, 2017)

Melda MTurboEq and MTurbo Compressor. Very powerful and lots of variety. Pickup the normal MEqualizer too, because its free and it works.


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## StevenMcDonald (May 19, 2017)

For the EQ, if you don't want to spend money I'd recommend TDR Nova. It's the only EQ I use!


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## FriFlo (May 20, 2017)

Actually, if you get along well in terms of handling with the standard eq of your DAW and don't notice anything bad about its sound, there is no need to buy any special EQ for orchestral. Most of the time, you wil just need to surgically cut (and less often boost) certain frequencies for the mix to become clearer. There are some exceptions that will give you a coloration, like the UAD massive passive I tend to use on group busses, but this is mainly to get a hyped sound that is more compatible with the poor conditions people tend to listen to music today. The massive passive not only boosts certain frequency, but also compresses. Probably nothing you cannot come close to with another multi compressor, but since I have it, I use it!  For natural orchestral sound I see no need for other plugins then the standard Cubase suite. Better invest in other things. Fab filter is of course a good tool, but mainly, because it is very deep and has lots of usability features that could help. I actually bought it recently, but didn't use it a lot since then, hence my recommendation not to make that a priority ...


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## FriFlo (May 20, 2017)

Oh, and one more thing ... I didn't test this, but I suppose nothing can really beat the integrated EQ in terms of efficiency and (at least in Cubase) they are tightly integrated into each track. You don't need to load a plugin, instead you can immediately start editing, which is not trivial, as you will need to edit quite a lot of tracks ...


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## Living Fossil (May 20, 2017)

Neutron's EQ has become my go to Equalizer. The fact that you can switch each of the 10 EQ bands to dynamic EQs and the option to solo specific bands is perfect for my workflow.

However, the other mentioned options are great too, there are many fantastic tools around...


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## Rowy (May 20, 2017)

Bunford said:


> I'm setting up templates at the moment and looking for some opinions and thoughts on what you guys think are the best plugin EQs and compressors out there that work well across most things, particularly orchestral scoring type music?
> 
> Also, feel free to suggest anything else beyond EQs and compressors if you feel the desire to do so



You asked, so don't get angry with me 

Have you though of the possibility that you can produce orchestral music without a compressor? In general, is compression a trick to cover up a meagre orchestration? Doesn't compressed music ruin your ears? Are composers of film music addicted to compressing orchestral music? Have they capitulated to film producers who don't know the difference between music and a lot of noise? Are they afraid of real instruments? Shouldn't we put Hans Zimmer and the likes before a firing squad?

And now... I'm running for cover


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## Bunford (May 20, 2017)

Rowy said:


> You asked, so don't get angry with me
> 
> Have you though of the possibility that you can produce orchestral music without a compressor? In general, is compression a trick to cover up a meagre orchestration? Doesn't compressed music ruin your ears? Are composers of film music addicted to compressing orchestral music? Have they capitulated to film producers who don't know the difference between music and a lot of noise? Are they afraid of real instruments? Shouldn't we put Hans Zimmer and the likes before a firing squad?
> 
> And now... I'm running for cover


Lol 

However, I couldn't disagree more. Yes, they clearly didn't have compressors and the like in the old days. But ever since they've been invented pretty much, they have been a staple of setups whether it's in the studio or in a live venue and been used on pretty much everything. If nothing, it at the very least need to be applied to the master out or mastering process. True, over use can sausage everything and kill all dynamics,but in the main they are of use in all music genres in my opinion as they can normalise and brighten an instrument without needing to kill all the dynamics in the instruments, whether than be a violin, piano or guitar.


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## Parsifal666 (May 20, 2017)

Fabfilter Pro-Q is my default, it's just terrific imo. I also use NI Passive EQ (and Zebrify) when I want particularly broader strokes.

Both Pro-Q and Pro-C are defaults on all my projects, I tend to get a bit more flexible when it comes to compressors (Waves SSL cab be a big deal in these parts), but Fabfilter always first.


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## Rowy (May 20, 2017)

Bunford said:


> Lol
> 
> However, I couldn't disagree more. Yes, they clearly didn't have compressors and the like in the old days. But ever since they've been invented pretty much, they have been a staple of setups whether it's in the studio or in a live venue and been used on pretty much everything. If nothing, it at the very least need to be applied to the master out or mastering process. True, over use can sausage everything and kill all dynamics,but in the main they are of use in all music genres in my opinion as they can normalise and brighten an instrument without needing to kill all the dynamics in the instruments, whether than be a violin, piano or guitar.



Except when it comes to (new) classical music. I'm just an amateur producer, what do I know? But about every producer who's responsible for productions of (new) classical music says: DO NOT USE COMPRESSION!

It does kill the dynamics, the balance (if there was any) and even the instrument (wrong timbre at a high volume). But never mind me. I guess I'm too old fashioned. People are starting to think that compressed music is the real thing and everything else is wrong. It is not! You are all taken for a ride!

I think I'm going to shut up about this subject. It's better for my health.


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## rvb (May 20, 2017)

I don't know why, but I really want to share my view on this here, until you really learn what compression IS and DOES exactly and when to use it (and also learn the specifics and differences about the FET, Optical, VCA compressors you own) than you definitely CAN make your music sound a lot better with compression. This is of course very subjective, because I personally find this to be true. It may very well be that you find that un true and that's the beauty about music, art and the art of mixing and mastering, it doesn't matter!!!! As long as you enjoy what you do and believe that it's great !!


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## JT (May 20, 2017)

Rowy said:


> Except when it comes to (new) classical music. I'm just an amateur producer, what do I know? But about every producer who's responsible for productions of (new) classical music says: DO NOT USE COMPRESSION!
> 
> It does kill the dynamics, the balance (if there was any) and even the instrument (wrong timbre at a high volume). But never mind me. I guess I'm too old fashioned. People are starting to think that compressed music is the real thing and everything else is wrong. It is not! You are all taken for a ride!
> 
> I think I'm going to shut up about this subject. It's better for my health.


Compression can be overused, that's true. But that's also true about about EQ or any processing you use. I don't put much stock into blanket statements that say don't use this or that. Every situation is different. If you're happy with your mix without it, great. But if a judicial use of any processing plugin gives you more of what you want, then use it. Knowing and understanding your tools is paramount.

As to the OP's question, I'm using Neutron a lot now. I've gotten mixed results from its track assistant, it's not the magic wand it first appeared to be, but using this mixing plugin has improved my critical listening abilities.

VSL also has the Vienna Suite. A collection of various plugins with presets for almost every orchestral instrument. (EQ, compression, reverbs, etc...) Don't take the presets literally, but they can be a good starting point for you to tweak from.


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## Karsten Vogt (May 20, 2017)

I use Fabfilter Pro-Q and Pro-C when aiming for transparency.
For mojo compression I like VC160, VC76 and VC2A, IKMM Bus Compressor, Klanghelm MJUC.
Mojo EQ: NI Solid EQ, NI Passive EQ, IKMM EQ81.
Reverb: Valhalla (everything, especially VVV)

With all the love for Neutron I guess I'll have to try it. Also from me thanks for the suggestion.


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## Parsifal666 (May 20, 2017)

Karsten Vogt said:


> I use Fabfilter Pro-Q and Pro-C when aiming for transparency.
> For mojo compression I like VC160, VC76 and VC2A, IKMM Bus Compressor, Klanghelm MJUC.
> Mojo EQ: NI Solid EQ, NI Passive EQ




The NI compressors can be useful, in fact the main reason I sold my old Waves Chris Lord-Alge compressor is because I felt backed up by both NI and in a more roundabout way the Waves SSL.

Now that I think of it, all the NI eqs and 'pressors are good imo....I'd use them more if I didn't have my sweet default.


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## Karsten Vogt (May 20, 2017)

Well, I use them because they came with the Komplete bundle. I also have the T-Racks ones but the difference between them is not that big. I just prefer the NI gui.


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## sazema (May 20, 2017)

Eventide Ultra channel and sometimes Fab stuff.


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## Nathanael Iversen (May 21, 2017)

I use the Cubase Eq for simple low and high pass. I also have the Flux EQ and compressor they are very nice mastering quality tools. And the Slate stuff for color, but it isn't as precise. Lots of choices.


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## Thorsten Meyer (May 22, 2017)

Lot's off good tools have been listed, I would recommend to look also into products from Kush


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## Leon Willett (May 22, 2017)

I'd like to shout out Sonimus plugins. Their SonEQpro is my all time favourite EQ, which I use ever day for orchestral stuff, and I love their Britson too, which is a saturation plugin. It's great on orchestral cymbals for example.


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## Jimmy Hellfire (May 22, 2017)

I think it doesn't matter one bit which EQ you're using.


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## Serg Halen (May 23, 2017)

I use ReaEQ from reaper 5 and jsCompShaper (actually free compressor).


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## Joram (May 24, 2017)

Why don't you start using use what many pro mixers use most when mixing in a DAW: a plain and simple clean eq as found in all DAWs. If you need to buy an eq and compressor, Fabfilter is a good choice. For a little more color, the Waves Renaissance eq en compressor are very usable and not too expensive.

IMO there is an over-the-top attention to the pro's and cons of different eq's. In the real world the differences between all these plugins do not make you mix better or worse. It is the way you use them that makes a convincing musical difference and it takes quite some mixing time and experience to find out why and when all these different plugins sound best. 

*As a general advise: work first on your skills before buying another plugin.*


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## nas (May 24, 2017)

For EQ I like Equilibrium. For transparent dynamic processing I highly recommend the Sonoris Mastering Compressor:

https://www.sonorissoftware.com/catalog/mastering-compressor-p-54.html


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## Vin (May 24, 2017)

I tend to use 2 EQs and 2 compressors - one clean and precise and one characterful. Pro-Q or EQuilibrium are great in that first category, and TDR VOS SlickEQ and Ignite Amps PTEq-X (both free!) are fantastic character EQs. My EQ work is usually subtractive and parametric, surgical EQs work best for this for me, but for broad boosts, the latter category works usually better.

For compression, The Glue and TDR Kotelnikov are just great for busses.


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## JohnG (May 24, 2017)

Rowy said:


> Have they capitulated to film producers who don't know the difference between music and a lot of noise?



Yes



Rowy said:


> Are they afraid of real instruments?



Yes

And the audiences too. Most have never been to the symphony, let alone opera or something extended like that.

It's kind of a rock and roll / pop / dance / contemporary world out there. If one wants to write commercially successful music, it seems one has to be one of about five concert composers, or use the toys.

Mind you, I kind of like all that and have spent plenty of time having my hearing damaged by loud guitars and PA systems in bars, so I am a long way from being a purist or regretting it all.


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## Rowy (May 26, 2017)

JohnG said:


> Yes
> 
> And the audiences too. Most have never been to the symphony, let alone opera or something extended like that.



I just remembered, I grew up with the sound of classical music on a LP (a black round plate that contains music and that can serve as a coaster). Someone told me once that the recording engineers needed to 'compress' the volume, otherwise a symphony wouldn't fit on one side. If that's the case, I've already heard a lot of compressed music without knowing it.

Perhaps that's why some music lovers complained about the 'cold' sound of a CD. On a CD you probably don't have to compress the sound and they were used to the full sound of a compression. Or am I being a technical noob here?


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## emid (May 26, 2017)

Just newly discovered Acustica Audio Amethyst III. It's a channel strip with three preamps, an eQ and compressor. All these components are available separately as well. Demo-ed it, couldn't resist, bought it. Due to it's clean sound, it is recommended for acoustic instruments. Entirely different beast!


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## Joram (May 26, 2017)

Rowy said:


> I just remembered, I grew up with the sound of classical music on a LP (a black round plate that contains music and that can serve as a coaster). Someone told me once that the recording engineers needed to 'compress' the volume, otherwise a symphony wouldn't fit on one side. If that's the case, I've already heard a lot of compressed music without knowing it.
> 
> Perhaps that's why some music lovers complained about the 'cold' sound of a CD. On a CD you probably don't have to compress the sound and they were used to the full sound of a compression. Or am I being a technical noob here?


Well, the compression technique the old school engineers used (and it is actually still used) is called _gain riding_. The engineer rides the faders anticipating the dynamics of the played music to get the best signal/noise ratio without overdriving the components in the equipment. The funny thing is: it is very well worth the effort to gain ride the compressor input as most compressors change the sound with the compression.

In that sense in has not much to do with a cold cd-sound.


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## Rowy (May 27, 2017)

Joram said:


> In that sense in has not much to do with a cold cd-sound.



I get it. Thanks, Joram.


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## Illico (Nov 10, 2017)

I have a question about compressor on orchestral mixing. Do you use a single wide-band compressor on master bus, or do you use a multiband compressor. Is there any benefit to using a multiband compressor, or can it create artifacts (phasing issues for exemple)?


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## Serg Halen (Nov 10, 2017)

Illico said:


> I have a question about compressor on orchestral mixing. Do you use a single wide-band compressor on master bus, or do you use a multiband compressor. Is there any benefit to using a multiband compressor, or can it create artifacts (phasing issues for exemple)?


If you want get mix like two steps from hell, you should use multiband compressor with pretty heavy settings (cuz you need more "flat" dynamic). But, if you need mix like John Williams, propably you shouldnt use any compression.


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## FriFlo (Nov 10, 2017)

Oh, this thing about compression on classical music is a complicated topic!
Compression has been and is still being used on classical recordings. It is just a question of the amount of compression. I would agree that most of today's people producing filmmusic would indeed achieve netter results by caring and learning more about orchestration (and applying that knowledge to midi). Most people seem to learn quicker how to use a limiter to make everything louder, which is quite natural I think.
But on the other hand, it is also a misconception that recordings are always the most natural thing and therefore compression has nothing to do in the domain of classical music. First of all, in the world of recordings, the microphones and preamps being used and the mixing desk are the first Equalizers and compressors in the chain. This is even more true for the past than today, as the coloration in frequency and dynamics of the equipment of that time was more extreme than with modern equipment. So, both EQs and Compressors have their place in mixing even the most natural sounding tracks. A recording played back on (even the best) playback system is never natural, it just tries to emulate that natural sound in a perfect location the best it can. Why else do you think there are engineers studying the art of recording and mixing an orchestra? Only very highly skilled people are able to deliver that sound ...
Then, when we go in the world of filmmusic and mockups, there is even less ground to prohibit the use of compression. While it is absolutely true, that most people start mixing, when they should be orchestrating and refining the midi, it may often be necessary to use compression to get the best result. Again, the more attention to detail was put into the midi work, the more subtle these changes will be, if the mockup should sound close to a real orchestral recording. But then, many filmmusic today does not want to sound like that ...


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## VinRice (Nov 10, 2017)

Fabfilter and iZotope though to be honest it's just bells & whistles; the EQ and Compression in any DAW is quite sufficient.


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## Illico (Nov 10, 2017)

@Serg Halen : Thanks, I already know the rule of compression.
I agree, compression is usefull when your music are delivered in nomad media for exemple, but could be skipped when delivered in a Home Hifi area. But, my question was about the difference between wide or multiband compressor. For exemple, it seems that TDR Nova could be a good free multiband compressor combine with EQ for instrument treatment, and the generic DAW compressor for the master bus.(I don't have the Cubase Pro version, only Artist)... I will try and check with my ears.


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## Chandler (Nov 11, 2017)

A multiband compressor will change the frequency balance of your mix/instrument, while a wide band compressor will cause pumping. Of course in small amount neither of these effect will be noticeable, but that is the main difference. Also keep in mind that pumping and changing the frequency balance of a mix isn't always bad. In general I'd say that if there are a few parts that are a bit too loud use a wide band compressor. If there are a few parts that are too bassy, harsh, etc use a multiband.


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## davidgary73 (Nov 11, 2017)

Currently using Softube Console 1 with SSL 9000K for all EQ works. 

Compressors, i use Acustica Audio Acqua Lime, Compressor C which is a 8051 5.1 Surround Compressor/Limiter and just 1-2db compression to glue everything together.


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## Dietz (Nov 11, 2017)

Looking for an all-round compressor is like looking for an all-round orchestral instrument, if you ask me. 

It's not as obvious in the case of EQs, but still there are colours I can only get from one, while there are solutions I can only achieve with the other.

Mixing is like arranging: It's about the selection of timbres and their clever combination.

... just my € 0.02.


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## jcrosby (Nov 11, 2017)

Rowy said:


> Except when it comes to (new) classical music. I'm just an amateur producer, what do I know? But about every producer who's responsible for productions of (new) classical music says: DO NOT USE COMPRESSION!
> 
> It does kill the dynamics, the balance (if there was any) and even the instrument (wrong timbre at a high volume). But never mind me. I guess I'm too old fashioned. People are starting to think that compressed music is the real thing and everything else is wrong. It is not! You are all taken for a ride!
> 
> I think I'm going to shut up about this subject. It's better for my health.



I don't know where you're getting your information, but it's simply not the way you think it is. Watch some Jake jackson or Alan Meyerson videos and perhaps you'll change your mind. You'll see them carefully choose where, and what they use compression on, and deliberate in the amount of gain reduction they aim for. It's every bit to do with creating cohesiveness in a mix as reverb is. Compression's also used to smooth out uneven dynamics in a performance or add motion, often described to as creating the illusion of improving a performance. By bringing cohesiveness between passages you can create the impression that a performance was played more evenly and consistently.


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## fixxer49 (Nov 12, 2017)

JohnG said:


> Yes
> 
> 
> 
> ...


Anton Bruckner - not exactly an orchestration slouch. however, i often find myself yearning for a compressor on something like Symphony No. 5. ha.


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## JohnG (Nov 12, 2017)

kind of mystified -- your comment seems like a _non sequitur_ to what I wrote? no?


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## DS_Joost (Nov 13, 2017)

FriFlo said:


> Oh, this thing about compression on classical music is a complicated topic!
> Compression has been and is still being used on classical recordings. It is just a question of the amount of compression. I would agree that most of today's people producing filmmusic would indeed achieve netter results by caring and learning more about orchestration (and applying that knowledge to midi). Most people seem to learn quicker how to use a limiter to make everything louder, which is quite natural I think.
> But on the other hand, it is also a misconception that recordings are always the most natural thing and therefore compression has nothing to do in the domain of classical music. First of all, in the world of recordings, the microphones and preamps being used and the mixing desk are the first Equalizers and compressors in the chain. This is even more true for the past than today, as the coloration in frequency and dynamics of the equipment of that time was more extreme than with modern equipment. So, both EQs and Compressors have their place in mixing even the most natural sounding tracks. A recording played back on (even the best) playback system is never natural, it just tries to emulate that natural sound in a perfect location the best it can. Why else do you think there are engineers studying the art of recording and mixing an orchestra? Only very highly skilled people are able to deliver that sound ...
> Then, when we go in the world of filmmusic and mockups, there is even less ground to prohibit the use of compression. While it is absolutely true, that most people start mixing, when they should be orchestrating and refining the midi, it may often be necessary to use compression to get the best result. Again, the more attention to detail was put into the midi work, the more subtle these changes will be, if the mockup should sound close to a real orchestral recording. But then, many filmmusic today does not want to sound like that ...



There is truth and then there is real truth. This is a great post.

Also, seconded about the stock EQs. They are good. I think Reapers is the most flexible, but the Cubase one is integrated in all the tracks and that's a huge timesaver, making it my favourite.


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## fixxer49 (Nov 13, 2017)

JohnG said:


> kind of mystified -- your comment seems like a _non sequitur_ to what I wrote? no?


sorry - i replied to the wrong comment.  (i don't think it was yours.) i can't go through this whole thread to find it, but the comment i was replying to was something to the effect of equating the use of compression with bad orchestration...


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## jamwerks (Nov 13, 2017)

Dietz said:


> Looking for an all-round compressor is like looking for an all-round orchestral instrument, if you ask me...


What software comps do you use for orchestral and/or hybrid? I wouldn't have thought about "color" comps when it comes to the 2-buss for orchestral, but tell us what you think!


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## vitocorleone123 (Aug 4, 2019)

EDIT: how did I easily scroll to a thread from 2017? Well, maybe this’ll still be relevant....

—————

I’m no pro, but a compressor on the mixbus for 1-2 (max) dB of mild (no more than 3:1ish) compression really does help a mix sound more coherent and “glued “. For orchestral, especially, I’d be very careful with my attack and release settings. Also, use a compressor with a side chain filter so you can reduce any hint of pumping (which you shouldn’t really be hearing at such mild compression settings) by starting to exclude frequencies below a certain point.

Unless you want/need “mojo”, I’d suggest sticking with more transparent/digital compressors that don’t impart additional “character “. Pro-C2 is one.

To throw fuel on a simmering fire: there’s also adding a limiter if you’re doing mixing and mastering yourself. But, at the very least, you can put Pro-L2 on the mixbus set at 0 and have it catch peaks - without intending to limit anything per se. Can also be good while composing in case a plugin or hardware freaks out and blasts some signal through - the limiter will help keep things from spiking out.


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