Compression works well on plucky synths to emphasize the attack and add extra punch.  Another use - bring up the tail of a synth that decays too quickly (although it's probably better to just tweak the envelope inside the synth).  Compressors may also be used to add character as they tend to add pleasant harmonics when overdriven slightly.  This depends on the actual compressor of course, they're not all the same when it comes to coloring the sound...

Just don't be shy about boosting the high end on channels/sounds that have pleasant harmonic content in the upper range.  Also, if you boost at around 10-12K, it's usually a good idea to cut off the extreme highs.  Boosting the master a little bit helps as well, but it's better to boost individual channels.  Exciters are also helpful but be careful not to overdo it.

Quote from: Axis on January 08, 2016, 11:16:02 pm

I normally have 4-6 different pad/attack layers, plus 2-3 bass layers.  It's not about loudness, but more about thickness and texture.  The term "supersaw" refers to a bunch of slightly detuned saws put together, and generally the more saws you add, the better it sounds.  Of course there is a limit when adding more layers makes everything worse, but I don't think that the "less is more" principle applies here.  Or maybe it's just me...

You're right and you're wrong. I mean, it's up to what you like. Also, having 2-3 basses can really mess with the frequencies if it's not mixed correctly.

Absolutely! But if mixed/shaped/processed correctly, 3 bass layers will sound thicker and generally better than a single bass layer, no matter how hard you process it... again, there are exceptions (such as synths with tons of oscillators and built-in FX units), but I find it easier to do it by mixing in the DAW rather than inside a synth.

Here are some tips that I posted in a different thread but I thought might be useful here:

1. When building layered stacks, use different instruments to play upper and lower harmonies. Using the same MIDI chords for all layers can muddy up the sound.

2. The chord notes/velocities are just as important as the sounds/instruments.  Sometimes dissonant harmonies add a very nice character, but it may or may not work with a specific sound/instrument.  Try changing velocities of "problematic" notes or removing them completely if it does not work.  Conversely, if a chord sounds too thin, adding more notes may work better than trying to fatten up the sound.

3. The bass sounds/layers are very important.  It's usually a good idea to group/process the bass layers separately from the supersaw.  Play around with the bass melody (add extra note transitions, make some notes longer than the chords, play bass notes where the chords are not playing, etc). This will make it more interesting.

4. When building layered supersaw stacks, getting the top end right is probably the hardest part (for me at least). Supersaws tend to be harsh in the high frequency domain, so cutting them off and adding white noise may help. Also, try adding a square layer - they tend to have a pleasant glow.

5. Ambience is very important. Adding reverb and vocal fills in the background can make a huge difference. When using a background reverb, don't forget to process it (saturation and EQ helps it stand out and sit better in the mix). While the usual jumping reverb trick works very well, sometimes it's better to add a wide supersaw layer in the background with a long release. Reverbs tend to sound muddy.

6. Increasing the velocity of the top notes may emphasize the lead melody. Alternatively, add a layer that only plays the topline melody. Try changing up the notes of the topline melody to make it sound more interesting.

7. Don't overdo it. Check every layer to make sure it improves the overall sound.

8. Make sure to adjust the levels of individual layers. Sometimes a layer playing at a low volume can add texture and thickness, but can really mess up the mix if it's too loud.

Hope this helps!

Anyways, yeh it was massive, but I can't remember exactly what I did. I'm not at home right now, otherwise I'd check

Haha, so I got this one right! It was my first choice for re-creating it since those kind of "screaming"sounds "scream" Massive

Wow, it's really surprising that so many people (including engineers) don't understand how the attack and release settings work!  I was 100% sure I knew exactly how this works, but this thread changed everything, lol!  Very useful information!

Once a signal crosses a boundary (depends on threshold as well as knee settings) the compressor is constantly attacking and releasing (how it does this depends on compressor design and attack/release settings - this is partly what gives each compressor its unique sound).

I wouldn't say it is "constantly attacking and releasing", but only when the input signal level changes.  In other words, if it's not changing, there's no attack and release.  If it goes up, the attack comes into play, and if it goes down, the release comes into play.  I hope this is correct.

I think there's lots of confusion regarding this topic... I agree with Mat that proper mastering is much more than just putting an EQ and a limiter on the master bus, and it's often unnecessary.  On the other hand, when producers talk about "mastering" in the context of club music, what they really mean is getting it to sound as fat and loud as possible without too much distortion so that it does not sound weaker compared to other tracks in the same genre.

There are two aspects to what people refer to as "mastering" (as I see it):
 
1. Gluing the mix together and maximizing the volume.  You can use a (multi band) compressor to glue your mix and even add character (Vengeance MB compressor is really good for adding character), i.e. you don't need expensive equipment and/or a properly treated room to do this.  If you cannot make it loud/fat without audible distortion, you need to work on your mix rather than your mastering skills.
 
2. Treating the mix with surgical EQ to tame annoying peaks or frequency build-ups.  This is better be done by a mastering engineer using proper monitoring and room treatment (otherwise you may not be able to even hear/recognize those peaks).
 
To summarize, #1 is the most important aspect for dance music, and if your mix is good, you can do it yourself.  #2 is less important (not to purists anyway), and labels usually don't care.