The bedrock of the design remains faithful to the original circuit and using this as the foundation, we've built upon it, adding several unique colouration options and advanced processing tools. We've been on a mission to create the ultimate and most versatile incarnation of the Bus Compressor ever. For many of the world’s top engineers and producers, the Bus Compressor continues to be the most relied upon processing tool for making mixes sound bigger and more complete, with drive and energy from adding that legendary SSL glue and punch. From the very first commercially released SSL 4000 B console in 1976 and through many generations of SSL consoles that have followed, the Bus Compressor has always been the stalwart of the console centre section. However, don’t just take my word for it-especially since some streaming web audio and computer speakers might lack the clarity necessary to hear this level of fine sonic detail-you should also experiment with these two EQ positions in your own DAW software program in order to hear the difference on your own system.If there is a single piece of analogue processing equipment that is synonymous with SSL, it must be the SSL Bus Compressor. Below is a rather heavy-handed EQ job pre and post compression for you to hear the difference. Carefully listening to the difference between the two positions is what will cement the sonic image in your mind and allow you to reach for the appropriate color in your mix. ![]() Of course, I can talk about how EQ sounds pre and post compression until I’m blue in the face, but this isn’t helping you to hear it. An acceptable way to apply EQ pre and post compression would be to employ a single High-Pass EQ band pre compression, to sculpt your signal at a macro level before compression, and a multi-band parametric EQ post compression to really fine-tune the sound. ![]() But, you should employ this technique more sparingly because overdoing your EQ can lead to a mix that sounds harsh and grating, or the opposite, hollow and dull. It’s also fine to insert your EQ pre and post compression. TAKE A BERKLEE ONLINE COURSE WITH ERIK HAWK! This works great even when I’ve already created my EQ curve pre compression, I simply drag the EQ plug-in post compression and Voila! I can immediately hear how my signal sounds when I’m EQing the compressed signal, vs. If I then want to hear the EQ post compression, I simply drag it to insert slot D. To facilitate this workflow I have my compressor plug-in inserted in slot C (right in the middle of the inserts) and my EQ plug-in inserted in slot B. I usually start with all of my channel EQ set up pre compression, but in Pro Tools it’s a snap to drag and drop the EQ plug-in to a different insert slot and hear the difference. I find that in most of my mixes about 40% of my EQ is post compression. So, the question you need to ask yourself for each channel in your mix is, “Do I want to EQ the compressed signal or do I want to compress the EQed signal? What sound do I want for this signal?” "As a rule, using EQ in front of your compressor produces a warmer, rounder tone, while using EQ after your compressor produces a cleaner, clearer sound." Click To Tweet ![]() ![]() As a rule, using EQ in front of your compressor produces a warmer, rounder tone, while using EQ after your compressor produces a cleaner, clearer sound. Each position, EQ pre (before) or EQ post (after) compression produces a distinctly different sound, a different tonal quality, and coloration. Instead, it’s about the sound that you’re going for, the sound that you hear in your head. When it comes time for students to mix their final class projects, a common question I hear is, “Should I put the EQ before or after the compressor? Which way is correct?” Well, there’s not actually a right or a wrong way.
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