thesimpletom
@thesimpletom.bsky.social
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If you’re looking at over-compression as an energy tool that also comes with some drawbacks, it’s quite easy to determine when and how to use it. Tickle the listener’s brain with a catchy interplay of transients, or hype it with a powerful mix, both can work equally good.
10/10
10/10
July 22, 2025 at 10:30 AM
If you’re looking at over-compression as an energy tool that also comes with some drawbacks, it’s quite easy to determine when and how to use it. Tickle the listener’s brain with a catchy interplay of transients, or hype it with a powerful mix, both can work equally good.
10/10
10/10
On the other hand, if you’re finishing a sparse production that doesn’t really smack, try over-compressing it. It may not sound perfect, but it may bring out the missing energy, and that’s what matters.
9/10
9/10
July 22, 2025 at 10:30 AM
On the other hand, if you’re finishing a sparse production that doesn’t really smack, try over-compressing it. It may not sound perfect, but it may bring out the missing energy, and that’s what matters.
9/10
9/10
then over-compression will erase these contributors.
For this reason, if used, over-compression should be part of the early stages of the production, because decisions will need to be made to accommodate it.
8/10
For this reason, if used, over-compression should be part of the early stages of the production, because decisions will need to be made to accommodate it.
8/10
July 22, 2025 at 10:30 AM
then over-compression will erase these contributors.
For this reason, if used, over-compression should be part of the early stages of the production, because decisions will need to be made to accommodate it.
8/10
For this reason, if used, over-compression should be part of the early stages of the production, because decisions will need to be made to accommodate it.
8/10
The mix sounds quite underwhelming over a large PA, but it does the job everywhere else.
It does feel like an energy overload even over the smartphone speakers.
If there are important elements in the high end, contributing to the groove of the song,
7/10
It does feel like an energy overload even over the smartphone speakers.
If there are important elements in the high end, contributing to the groove of the song,
7/10
July 22, 2025 at 10:30 AM
The mix sounds quite underwhelming over a large PA, but it does the job everywhere else.
It does feel like an energy overload even over the smartphone speakers.
If there are important elements in the high end, contributing to the groove of the song,
7/10
It does feel like an energy overload even over the smartphone speakers.
If there are important elements in the high end, contributing to the groove of the song,
7/10
Benny Benassi’s Satisfaction is a good example of sparse arrangement where over-compression works perfectly (the chorus has just kick, bass, lead, vocal, clap, hats).
Squashing the mix brings them all upfront.
6/10
Squashing the mix brings them all upfront.
6/10
July 22, 2025 at 10:30 AM
Benny Benassi’s Satisfaction is a good example of sparse arrangement where over-compression works perfectly (the chorus has just kick, bass, lead, vocal, clap, hats).
Squashing the mix brings them all upfront.
6/10
Squashing the mix brings them all upfront.
6/10
There are many other elements in her songs (like vocal ad-libs and synth bits) that build and keep the groove going, so the producer was able to trade the top end movement in favor of more density and a sense of “expensive” top-end.
5/10
5/10
July 22, 2025 at 10:30 AM
There are many other elements in her songs (like vocal ad-libs and synth bits) that build and keep the groove going, so the producer was able to trade the top end movement in favor of more density and a sense of “expensive” top-end.
5/10
5/10
his music is pretty conservative in terms of compression and limiting.
Dua Lipa’s songs, where most of the hi-hats are a simple pattern, with the role of just doing subtle movement in the top end, very over-compression-friendly. And many are at the edge of over-compression.
4/10
Dua Lipa’s songs, where most of the hi-hats are a simple pattern, with the role of just doing subtle movement in the top end, very over-compression-friendly. And many are at the edge of over-compression.
4/10
July 22, 2025 at 10:30 AM
his music is pretty conservative in terms of compression and limiting.
Dua Lipa’s songs, where most of the hi-hats are a simple pattern, with the role of just doing subtle movement in the top end, very over-compression-friendly. And many are at the edge of over-compression.
4/10
Dua Lipa’s songs, where most of the hi-hats are a simple pattern, with the role of just doing subtle movement in the top end, very over-compression-friendly. And many are at the edge of over-compression.
4/10
A song like Bruno Mars’ 24K Magic would not work better by being squashed. The hi-hats have a distinct pattern which is an important part of the groove.
Because most of his songs are based on live drumming and drums groove,
3/10
Because most of his songs are based on live drumming and drums groove,
3/10
July 22, 2025 at 10:30 AM
A song like Bruno Mars’ 24K Magic would not work better by being squashed. The hi-hats have a distinct pattern which is an important part of the groove.
Because most of his songs are based on live drumming and drums groove,
3/10
Because most of his songs are based on live drumming and drums groove,
3/10
Which will reduce separation between tracks.
Which will make everything sound ultra glued to the point the top end becomes closer to a continuous noise, if the mix is dense. Or bring all the elements to slap the listener in the face, if the mix is sparse.
2/10
Which will make everything sound ultra glued to the point the top end becomes closer to a continuous noise, if the mix is dense. Or bring all the elements to slap the listener in the face, if the mix is sparse.
2/10
July 22, 2025 at 10:30 AM
Which will reduce separation between tracks.
Which will make everything sound ultra glued to the point the top end becomes closer to a continuous noise, if the mix is dense. Or bring all the elements to slap the listener in the face, if the mix is sparse.
2/10
Which will make everything sound ultra glued to the point the top end becomes closer to a continuous noise, if the mix is dense. Or bring all the elements to slap the listener in the face, if the mix is sparse.
2/10
It gets continuously updated with new concepts, in a straight-forward and bloat-free manner.
Knowing when and why to apply the techniques is equally important as knowing how to apply them. The book deals with all these aspects. All the info in the link in my profile.
12/12
Knowing when and why to apply the techniques is equally important as knowing how to apply them. The book deals with all these aspects. All the info in the link in my profile.
12/12
July 20, 2025 at 7:01 AM
It gets continuously updated with new concepts, in a straight-forward and bloat-free manner.
Knowing when and why to apply the techniques is equally important as knowing how to apply them. The book deals with all these aspects. All the info in the link in my profile.
12/12
Knowing when and why to apply the techniques is equally important as knowing how to apply them. The book deals with all these aspects. All the info in the link in my profile.
12/12
doesn’t make a whole lot of difference to the quality of the mix. It’s up to you if you’re using it or not.
If you end up using it, worth using a dedicated limiter just for TPs.
I unpack many aspects like this one in the Technical Support section of my book The Blueprint for Mixing.
11/12
If you end up using it, worth using a dedicated limiter just for TPs.
I unpack many aspects like this one in the Technical Support section of my book The Blueprint for Mixing.
11/12
July 20, 2025 at 7:00 AM
doesn’t make a whole lot of difference to the quality of the mix. It’s up to you if you’re using it or not.
If you end up using it, worth using a dedicated limiter just for TPs.
I unpack many aspects like this one in the Technical Support section of my book The Blueprint for Mixing.
11/12
If you end up using it, worth using a dedicated limiter just for TPs.
I unpack many aspects like this one in the Technical Support section of my book The Blueprint for Mixing.
11/12
turn it down few dBs, and the sample peak level will be under 0 db FS, so the TPs will disappear via normalization (which is just a volume change, not a dynamic processing of the song).
You’ll find Grammy-winning music with and without TP limiting. This concept, same as dithering,
10/12
You’ll find Grammy-winning music with and without TP limiting. This concept, same as dithering,
10/12
July 20, 2025 at 7:00 AM
turn it down few dBs, and the sample peak level will be under 0 db FS, so the TPs will disappear via normalization (which is just a volume change, not a dynamic processing of the song).
You’ll find Grammy-winning music with and without TP limiting. This concept, same as dithering,
10/12
You’ll find Grammy-winning music with and without TP limiting. This concept, same as dithering,
10/12
Some standards, like Dolby ATMOS, require TP measurement and they’re very strict about it. It makes total sense to respect the specs requirements.
TPs don’t affect the quality of converting audio to lossy formats. Also, music that has TPs is also loud enough for the streaming services to
9/12
TPs don’t affect the quality of converting audio to lossy formats. Also, music that has TPs is also loud enough for the streaming services to
9/12
July 20, 2025 at 7:00 AM
Some standards, like Dolby ATMOS, require TP measurement and they’re very strict about it. It makes total sense to respect the specs requirements.
TPs don’t affect the quality of converting audio to lossy formats. Also, music that has TPs is also loud enough for the streaming services to
9/12
TPs don’t affect the quality of converting audio to lossy formats. Also, music that has TPs is also loud enough for the streaming services to
9/12
So what’s the deal with TP then? It’s a (standardized) way of predicting how an analog filter will behave, and adjust the digital signal to avoid undesired analog peaks.
TP’s don’t actually exist in digital. They are an imaginary digital concept, created to solve an analog problem.
8/12
TP’s don’t actually exist in digital. They are an imaginary digital concept, created to solve an analog problem.
8/12
July 20, 2025 at 7:00 AM
So what’s the deal with TP then? It’s a (standardized) way of predicting how an analog filter will behave, and adjust the digital signal to avoid undesired analog peaks.
TP’s don’t actually exist in digital. They are an imaginary digital concept, created to solve an analog problem.
8/12
TP’s don’t actually exist in digital. They are an imaginary digital concept, created to solve an analog problem.
8/12
audible distortion.
I don’t think anyone in the last 20 years has listened to some music and said “I just heard clipping” or “in this particular song I hear a kind of distortion that I don’t hear in other songs”. That’s because all DACs are good enough to gracefully deal with TPs.
7/12
I don’t think anyone in the last 20 years has listened to some music and said “I just heard clipping” or “in this particular song I hear a kind of distortion that I don’t hear in other songs”. That’s because all DACs are good enough to gracefully deal with TPs.
7/12
July 20, 2025 at 7:00 AM
audible distortion.
I don’t think anyone in the last 20 years has listened to some music and said “I just heard clipping” or “in this particular song I hear a kind of distortion that I don’t hear in other songs”. That’s because all DACs are good enough to gracefully deal with TPs.
7/12
I don’t think anyone in the last 20 years has listened to some music and said “I just heard clipping” or “in this particular song I hear a kind of distortion that I don’t hear in other songs”. That’s because all DACs are good enough to gracefully deal with TPs.
7/12
The ISPs are generated by the filter that smooths the waveform, they happen in the analog domain, and they are not a digital problem.
It’s all about the analog amp to deal with these peaks. The analog amps always have some headroom, because otherwise they will operate too close to
6/12
It’s all about the analog amp to deal with these peaks. The analog amps always have some headroom, because otherwise they will operate too close to
6/12
July 20, 2025 at 7:00 AM
The ISPs are generated by the filter that smooths the waveform, they happen in the analog domain, and they are not a digital problem.
It’s all about the analog amp to deal with these peaks. The analog amps always have some headroom, because otherwise they will operate too close to
6/12
It’s all about the analog amp to deal with these peaks. The analog amps always have some headroom, because otherwise they will operate too close to
6/12
only sees the actual incoming samples.
It only sees the actual PCM (Pulse Code Modulation) samples. If we use a (non-TP) limiter and send our audio to a DAC, there will be no sings of digital clipping, no matter how many ISPs the incoming audio has.
5/12
July 20, 2025 at 7:00 AM
only sees the actual incoming samples.
It only sees the actual PCM (Pulse Code Modulation) samples. If we use a (non-TP) limiter and send our audio to a DAC, there will be no sings of digital clipping, no matter how many ISPs the incoming audio has.
5/12
→ The filter will smoothen the incoming “staircase” into a nice, rounded waveform. Then this signal is amplified by the amp.
The ISPs (Inter-Sample Peaks) are, according to their name, in-between samples.
For this reason, the digital input side of the DAC doesn’t “see” them, because it
4/12
The ISPs (Inter-Sample Peaks) are, according to their name, in-between samples.
For this reason, the digital input side of the DAC doesn’t “see” them, because it
4/12
July 20, 2025 at 7:00 AM
→ The filter will smoothen the incoming “staircase” into a nice, rounded waveform. Then this signal is amplified by the amp.
The ISPs (Inter-Sample Peaks) are, according to their name, in-between samples.
For this reason, the digital input side of the DAC doesn’t “see” them, because it
4/12
The ISPs (Inter-Sample Peaks) are, according to their name, in-between samples.
For this reason, the digital input side of the DAC doesn’t “see” them, because it
4/12
→ The digital input is fixed point (16- or 24-bit), and it receives the audio from the DAW.
→ The resistor network receives the digital signal and outputs a “staircase” analog waveform. All it takes is a bunch of resistors to convert 0s and 1s to analog.
3/12
→ The resistor network receives the digital signal and outputs a “staircase” analog waveform. All it takes is a bunch of resistors to convert 0s and 1s to analog.
3/12
July 20, 2025 at 7:00 AM
→ The digital input is fixed point (16- or 24-bit), and it receives the audio from the DAW.
→ The resistor network receives the digital signal and outputs a “staircase” analog waveform. All it takes is a bunch of resistors to convert 0s and 1s to analog.
3/12
→ The resistor network receives the digital signal and outputs a “staircase” analog waveform. All it takes is a bunch of resistors to convert 0s and 1s to analog.
3/12
There will be a digital to analog conversion somewhere in the audio path. And wherever that will happen, the DAC (Digital to Analog Converter) will be built with these blocks:
(digital input) → (resistor network) → (filter) → (amp) → (analog output)
2/12
(digital input) → (resistor network) → (filter) → (amp) → (analog output)
2/12
July 20, 2025 at 7:00 AM
There will be a digital to analog conversion somewhere in the audio path. And wherever that will happen, the DAC (Digital to Analog Converter) will be built with these blocks:
(digital input) → (resistor network) → (filter) → (amp) → (analog output)
2/12
(digital input) → (resistor network) → (filter) → (amp) → (analog output)
2/12
When the processing is introducing a higher number of upper harmonics, they will be mostly noticeable in the high mids and highs. So overall brighter sound.
These aspects may be also a factor when deciding which kind of limiting to use.
5/5
These aspects may be also a factor when deciding which kind of limiting to use.
5/5
July 18, 2025 at 9:30 AM
When the processing is introducing a higher number of upper harmonics, they will be mostly noticeable in the high mids and highs. So overall brighter sound.
These aspects may be also a factor when deciding which kind of limiting to use.
5/5
These aspects may be also a factor when deciding which kind of limiting to use.
5/5
When the processing (be it saturation or limiting) is introducing a lower number of upper harmonics, the effects will be apparent mostly in the low mids and mids (100 Hz - 1 kHz). So overall low-end control and low-mids thickening.
4/5
4/5
July 18, 2025 at 9:30 AM
When the processing (be it saturation or limiting) is introducing a lower number of upper harmonics, the effects will be apparent mostly in the low mids and mids (100 Hz - 1 kHz). So overall low-end control and low-mids thickening.
4/5
4/5