I should add, as another side note / rabbit hole to those new to the art of 'fucking with brains through audio' — masking is also frequently put to use in mixing, particularly EDM and more percussive genres.
To help squeeze every last drop of perceived dynamic range out of a track you can use a technique known as sidechain compression (http://samplesfrommars.com/blogs/tips-tricks/18999227-how-to...) to dynamically compress other components of the mix in response to (usually) a kick drum.
A great example of this technique being used stylistically is Titanium by David Guetta (ft. Sia) - listen for the kick drum masking out all of the other instruments in the mix at the end of the chorus. In this case, it's used more as an obvious effect than a transparent mixing technique (as compressors usually are).
Sidechain compression doesn't do anything more for overall dynamic range than regular compression. Rather it provides a channel for some audio to completely bypass the compressor while the rest gives way to it. The point of it really is purely stylistic, the fact that it reduces the overall dynamic range is incidental.
Keyword there was perceived dynamic range. Completely agree that it's a stylistic choice, the goal of which is usually a 'huge kick/bass' etc. It's simply a technique to create that illusion without needing to increase actual dynamic range.
Thanks for that informative link.. I would say the advice to simply re-write a musical composition so that bass and kick don't happen at the same time seems to put the cart of mix aesthetics before the horse of musical intent! :)
"Sideband compression" sounds like an interesting dsp project! But I think the term is "sidechain compression", right?
In electronic music, mix aesthetics is quite often exactly the musical intent - you're trying to create a track that sounds a certain way first, and think about melodies and harmonies (if you even have them) second. You would often pick specific key and bassline because of how low frequencies (55-110 Hz octave and below) sound in the mix on your intended equipment. You would even distinguish between open-air and club tracks sometimes because of how open space affects sonic qualities of your mix.
Re-arranging is definitely one 'solution' and the only real approach when you're talking music played live on acoustic instruments. It's one of the elements of good orchestral music I find most fascinating - that many sources of noise, each playing their part and either perfectly blending or completely juxtaposing one another.
I'd argue that using all the various forms of DSP at your disposal when working with sound in the recorded / amplified sense (and especially electronic music) is an equally valid aesthetic choice. Different limitations, different capabilities and difference aesthetic possibilities for different mediums.
Yes, exactly that; the compressor turns down the rest of the mix as it is triggered by the kick drum (which isn't going through the compressor). Easily heard at the beginning of "Call on me" by Eric Prydz [1] if you concentrate on the synth string sound. Lots of people think this is the only use of it (it's not), but it's probably the most popular.
To help squeeze every last drop of perceived dynamic range out of a track you can use a technique known as sidechain compression (http://samplesfrommars.com/blogs/tips-tricks/18999227-how-to...) to dynamically compress other components of the mix in response to (usually) a kick drum.