I always record vocals with compression on the way in, it helps to stop annoying peaks, since getting my elysia xpressor 500 there's no turning back, but I have it on very subtle and invisible settings, it's making the sound even without you noticing that it's there, that's what you should be aiming for, it also adds some nice colour and makes it far easier to mix later on.
Compressors and vocals question
- Thread starter famous beagle
- Start date
Rick Finsta
New member
I record my vocals while playing acoustic guitar so I absolutely need to compress on the way in unless I'm using an omni in the room and balancing everything myself. I get LOUD and I really just need it for the soft limiting since my area is noisy enough that I need more gain on the input or hiss becomes and issue later on. I can't use mic technique since I need to stay put so I can maximize isolation between the microphones and not have a bunch of fiddling around to do balancing stuff later on.
I am running low ratios and just looking to get 3-4dB down on the peaks where I'd otherwise clip.
I am running low ratios and just looking to get 3-4dB down on the peaks where I'd otherwise clip.
bouldersoundguy
Well-known member
Does not follow.
WarmJetGuitar
New member
I almost always compress on the way in when recording vocals. I'm recording on narrow track tape and this is what works the best as I don't wanna bring the hiss up - it also frees up the compressor for mixdown in case I want parallel compression or something else.
Rick Finsta
New member
I'm sorry, did you actually not understand the explanation directly following the quote you pulled or are you just being a jackass? Sarcasm doesn't always translate to print.
Naw. My guess would be he meant something along the line of it being like saying 'I record therefore I must compress on the way in.'
'On the way in is is so close to 'after at mix down the diff is .. for the most part little.
Then the effect on the noise floor is the same before or after anyway.
Farview
Well-known member
I'm sure he will come back and explain, but I took it to mean that the reason you gave for using a compressor isn't really a reason to use a compressor (on the way in, anyway). It's more a reason to turn the gain down and compress in the mix stage. It might sound better is you just did some volume editing...
Using compressors to keep from clipping the converters is poor gain staging. The only time that is necessary is when you could be surprised by something in a situation that you can't go back and do it over.
Using compressors to keep from clipping the converters is poor gain staging. The only time that is necessary is when you could be surprised by something in a situation that you can't go back and do it over.
bouldersoundguy
Well-known member
Now I see the mention of hiss as one of your challenges, which does make compressing on the way in tempting. Hiss is something that I don't have to deal with much anymore so I just didn't see it there. I guess I'd try to remedy the hiss if possible, to have a low enough noise floor to let me record more freely.
It looks like you both see something here and I'm just not seeing it. 'Hiss- as in room noise or gear/electrical?
What am I missing 'cause either way I run it I can't get my head around it?
bouldersoundguy
Well-known member
If it's noise that's getting in after the mic and preamp then compressing live keeps the quieter parts of the signal hotter relative to the noise. If you compress after the fact you'll bring the noise up with the quiet parts of the track.
Ooo ok. What do you mean by 'noise getting in after the mic and pre? That would have to be hardware related I presume..
Thanks
Farview
Well-known member
Like tape hiss, etc...
Lt. Bob
Spread the Daf!
personally I hate compressors and just about don't use them at all for anything.
I work the mic whether sax or vocals and keep the levels straight that way. I do understand that's not easy for everyone to do but I've been doing it that way for 45 years so i'm used to it and it works for me.
About the ONLY time I'll use a comp is in the mix if there's a serious peak somewhere that I just can't handle by riding the fader.
I work the mic whether sax or vocals and keep the levels straight that way. I do understand that's not easy for everyone to do but I've been doing it that way for 45 years so i'm used to it and it works for me.
About the ONLY time I'll use a comp is in the mix if there's a serious peak somewhere that I just can't handle by riding the fader.
Lt. Bob
Spread the Daf!
Ah you beat me to it. I had to sleep on this, but yeah.
Tape. About the only thing left we have around with crappy enough s/n to make this (particular) 'I need it on the way in' compute.
Got tape ?
Yeah. Didn't think so
...Next
A follow up, for the sake of balance
Grant that like Farview mentioned, having the comp in the chain can at least offer a comfort cushion' to a less than the perfect' gain staging situation.
Lt. Bob
Spread the Daf!
I'm sure that's a big deal.
When I was younger I had a Urei limiting amplifier that I had no idea what to do with so I gave it away. I think it was an 1176 ..... add that to the HUGE list of important gear I traded away or snorted up.
famous beagle
Well-known member
Ah you beat me to it. I had to sleep on this, but yeah.
Tape. About the only thing left we have around with crappy enough s/n to make this (particular) 'I need it on the way in' compute.
Got tape ?
Yeah. Didn't think so
...Next
A follow up, for the sake of balance
Haters be hatin'.