JikkentekiI have found that compression on the kick does nothing more than ruin the initial pop of the kick. After analazing numours wave forms of kicks and bass' from many psy producers, I'm left with the conclusion that most, don't, use a compressor on the kick that is. I'm also experimenting with bussing everything, except kick and bass, to it's own bus channel to keep the kick and bass out of the full mix compression and eq. Kick and bass on one bus and all else on another. This allows for complete control over the mids and highs and also the meat. (For you vegitarians, thats the best part) Not sure if any of this is right, but I'll try anything at this point. And please correct me if I'm wrong.
If you are losing the pop on your kick if you compress it, I'd guess your attack settings are a bit off and/or you are compressing it too much. When it comes to kicks and bass, I tend to use multiband compression and I use it more like an eq than a compressor proper. PSP's Vintage Warmer can be quite useful for beefing up both kicks and bass. Your bus idea is something I do as well. I generally run 6 busses. plus a couple more for effects. Use what works… Full mix compression I probably wouldn't bother doing. Rather compress the parts that need to be compressed and eq everything to its ideal point. Get the best mix down possible with nothing on your master channel (don't worry if the volume seems low at this stage). Total mix compression is generally something done in the mastering stage and at this point you can get the volume raised up to “release” standards… (although I personally think that most releases today have been brick-wall limited far too much and lack proper dynamics anymore… but that's another story)
