What's your approach to managing dynamic range in a mix to ensure both clarity and impact without over-compressing?

Loud sounds grab attention, so I make important parts of a mix stand out by turning up their volume. There’s also a long-term effect that's more subtle but just as important. It's helpful to decide which parts of a song should be the most energetic, and then reduce the energy in other parts on purpose.

To increase the clarity of a mix, avoid having too many sounds happening at the same time and/or occupying the same frequency range. Sometimes, the best tool in mixing is simply muting certain elements.

Compression isn't the only way to manage dynamic range!

Firstly, "managing" dynamic range implies 2 opposites -

1. More dynamic = creating greater dynamic range from a duller/flat arrangement and performance OR
2. Less dynamic = controlling large peaks and troughs in the form of loud sounds or spurts of transients to tame the mix and create cohesiveness. 

We manage dynamic range with every step of the mix process, not just with compression - from gain staging, to riding levels with automation, to creating space with EQ, to compression and limiting, to tools that blend a mix of compression and EQ like dynamic EQs and multi-band compression.. Not to forget other techniques like top-down mixing with master bus processing, parallel mixing with bus processing, etc. 

Clarity and impact comes from a balanced and intentional mix - as many have mentioned, intentionality is what gives you clarity and impact in a mix. For example:

• Is the impact of the arrangement carried by the rhythm section? So maybe prioritise making space for the kick with side chaining and room for the snare's transients to come through with a slower attack time.
• Does the clarity of the arrangement come from the harmonics in the piano and vocal performance? Then maybe prioritise a lush reverb that allows enough sibilance and top end through. 

It is all about what pleases my ears. Many times a clean raw cut is ruined by compression and eq especially someone who is not versed in their software.  The ability to mix vocals to music is a gift not only technically but the person mixing must have the "ear" for it.  Too many bad mixes happen where music drowns the vocal, vocals are too low or even music "ducking" is distracting.  Trust your ears more than the tech.

For managing dynamic range, I try to strike a balance between clarity and punch. First, I make sure the instruments have their own space in the mix— proper gain stagging, EQ and panning help here. Then, I use compression sparingly, focusing on taming peaks without squashing the life out of the track. A bit of parallel compression can add weight without sacrificing dynamics. The trick is to let the quieter moments breathe while still making the loud parts hit hard. If it feels exciting without making your ears tired, you’re in a good spot!

The best approach I've found over the years is to start with proper gain staging, ensuring everything is balanced from the beginning and focusing on dynamics early in the mixing process. Dynamics bring a track to life, and it's the engineer's responsibility to understand which elements enhance that aspect. One practical method is to identify the hook of the track and make everything else feel smaller in comparison. For example, if the hook features a powerful drum section, keep the drums more subdued elsewhere. This contrast makes the hook stand out, showcasing the track's dynamics.

First of all, clean up those frequencies that do not add up in the overall balance of the mix and only muddy and compete with each other. 

2nd is to compress very little in different subgroups and use parallel compression, all very delicately.
Then use clippers to eliminate transients that demand too much from the limiter. 
The reality is that if you want to achieve a high volume, you have to compress, but always just enough to feel the punch in the song. 

Mixing with intention is key. Instead of following a set formula for each track, listen carefully and mix based on the content. Assess what you want to achieve and choose your tools accordingly. Elements need to breathe and it does have the space to do so - if you let it. Use compression when it's a solution and can help you solve a problem not just because.

This is all about mixing with intention. If a stem doesn't require compression, we don't compress. 

Don't feel as though you have to follow a formula for each stem or track, just listen to the content before you and mix accordingly. 

Take the time to assess what you are looking to achieve and how do you get there. Is there a nasal sound in the vocals? Reach for some EQ to tonally shape it out. Do you need the vocal performance to sound a little more cohesive? Maybe a light compression is a good choice, maybe level automation is also a good choice.