How do you use multiband compression to improve audio recordings?

for me, the best thing to do with multiband is to try to avoid it. If it’s necessary, then you really must understand what a given plug-in might do. Most of them are IIR cross overs and also the filters have phase shift involved. Sometimes this can be really a problem. So first I would choose between an IIR and an FIR multi band. The FIR types have very long latencies and they’re not usable for recording or mixing live. Most of the time they have the most transparent sound. Choose only the number of bands you need if there is a selection. If Band can be turned off, then do so, and use only the band or bands you need for your task. If you’re compressing the bass and using the high band as a de-esser, then turn off the bands in between,etc.

Multiband compression is used to control the dynamic range of different frequency bands. By splitting the audio signal into multiple frequency bands, you can apply compression to each band separately. Those are the steps I usually follow: 1. Identify the problem areas. 2. Set up the bands: Divide the audio signal into different frequency bands using a multiband compressor plugin or hardware unit. 3. Set the threshold & ratio: Adjust the threshold & ratio for each band to control the amount of compression applied. 4. Adjust attack and release times: Fine-tune the attack and release times for each band. 5. Use makeup gain: Use makeup gain control to compensate for any overall level changes caused by the compression. 6. Listen and adjust.

Multibandkompressoren werden eigentlich nur dann ben?tigt, wenn vorher bei der Aufnahme oder Mischung etwas schief gelaufen ist. Das k?nnen bei der Aufnahme akustischer Instrumente beispielsweise st?rende Resonanzfrequenzen sein, die dynamisch reduziert werden sollten, oder beim Mastering sad Lautst?rkenverh?ltnis zwischen Bass und Bass Drum. Laien richten mit einem Multibandkompressor meist mehr Schaden als Nutzen an, da es ein wirklich komplexes Tool für erfahrene User ist!

choosing the crossover frequencies will not really change the phase effect of the filters. You choose your crossover frequency to select the frequencies of interest. The ratio, attack and release are highly critical in the way the compressor will work, of course, and if you don’t know about that, then you probably should not be using a multiband at all. If you don’t know what the difference between a 2 ms and a 15 ms attack time will have on a snare drum, read the previous sentence. If it can be avoided, do not use automatic attack and release settings. Generally, a hard knee is acceptable because you’re really trying to control a certain range. These would be frequencies that are misbehaving. Lastly, don’t use it to make your mix loud.

Dynamic range controllers depend on you knowing what you’re doing. if you don’t feel completely confident with a regular compressor, then may I suggest you do more study; really understand how different compressors sound, even though they have the same settings. If you do feel competent with a wide band, then the multiband requires attack and release settings to match the frequency and transient characteristics of each band of audio. For example, very fast attack and release for low frequencies is not a good choice. The longer the attack, the more transient gets through, and this way, you can enhance the punchy nature of that band. each range has very different attack and release needs. It’s worth experimenting for hours to really learn.

generally, the first thing I do is set my output levels for the tonal characteristic I’m looking for, then adjust ratio, threshold, attack and release. not the other way around. If I need to adjust the output of each of the bands, then I do so first, then I adjust the settings for each band to get the behavior I want. After that, of course, I fine-tune the output levels. This will take several cycles to get just right.

this is a bit of a trick. Use a multi band in sidechain mode and set it so only the middle band, say between 300 Hz and 3kHz, is being compressed. The external sidechain source is the main vocal. This way your vocal ducks the midband a little bit to make it easier for the voice to stay on top of the mix.

Multiband compression is great on Guitars, Bass and percussion instruments tightening low frequencies, adding shine to high frequencies without affecting the mid-EQ. Vocal can be shaped with a multiband compressor giving better results than a standard EQ plugin. Multiband Compression can be also used in the Mix BUS instead of the standard Gain plugin, The Equaliser and Compressor or can be placed before the Limiter to give your recordings more punch.