Attack and Release Times on compressors

E

EZP

New member
Hi Guys,

I want to compress and limit a part on my band's PA rig (we reached a suffiecient level of proffesionality, I think). I need at least 6 mono (3 volcals, 2 mains and a bass guitar) compressors / limitters, and one or two extra wouldn't hurt (electric guitars or drums)
I'm thinking about a pair Behringer Multicoms, these are cheap, 4 on a 1 rack space, and all of you guys think of Behringer as a good comp. manufacturer.
The one problem I have is that they don't have attack or release knobs, which are supposed to work 'automatically'. Are these knobs essential or does the Multicom work well without them?

Input on experience with compressors without these features are welcome!!

Thanks Guys,
EZP
 
Those are pretty important adjustments to not have any control over them. I haven't used the MultiCom so I cant say if it's any good. I dont like automatic boxes but that is just me.
 
Just from experience

I have a compressor with limited attack and release settings, i.e. ""slow" or "fast". I happen to like the sound of this device whereas I have compressors, both plug ins and hardware that have attack and release controls and it does not automatically make them better or worse, it just depends on what you are using it for. Probably you should get as much diversity in your rack as possible, then you can cover whatever situations arise and/or get whatever effect or sound you want. BTW, TexRoadKill seems to know alot about recording technique and the way the various gear works and sounds, for what its worth.
 
EZP- I know those units are in a lot of live racks so they probably arent too bad. You might want to consider using them on drums and bass first. They are the hardest to control live. On vocals be carefull you dont raise the level too high and start compressing feedback.

Its nice to have attack and release so you can fine tune the sound. The attack is very important if you want to use the comp for de-essing or to give the drums more or less punch. The autocom will probably work well for general use you just wont get to fine tune the sound.
 
i'm using multigate pro from behringer in live performance, it is cheep, but i'm not very happy with them, it's because i can't fine tune pot's, and it is frustrating when i want fine tune parameters of gate.. i'm not sure about behringer multicom but if pot tunes ar in steps (like in multigate) try to ghet something better.
p.s. (sorry about english if something is wrong.....)
 
The Behringer Mulicomps are pretty standard for Live use, where you need a lot of inputs. The sound is pretty amazing for the price and number of channels you get. Plus, if you get the auto attack/release, that's just one less thing you have to worry about. I wouldn't hesitate to get one for live work.
 
Added chance to Feedback?

TexRoadkill:
I was indeed plannig on comp'ing de Bass to, and the drum set is in most cases still 100% acoustic (we might benefit from a kickmic though).
Do compressors (like reverbs) add a lot of chance to feedback?? Our (lady) leadsinger isn't verry loud so feedback is already an issue all the time.
I want to comp/limit the whole lot because we're about to use (fixed) In Ear Monitors, and I don't want my ear's poped out.

This brings me to a couple of other questions:
- The Behringer Feedback killer: is it any good? Or any other feedback killer? Are 31band EQs better?
- Resonable priced kick mics? Any suggestions?

Again, Thanks for all the replies!

EZP

ps. ausrock: Is that presonus good? What's the MSRP?
 
EZP,

I use the PreSonus in a studio environment, but I imagine it would be fine in a live situation too. Pricing is something you would have to check out with a dealer close to you.

In regard to your "live" problems;

Not the most practical, but possibly the best thing in the long run is for your singer to have some training to improve her vocal strength.
When I was doing live work, we used to have 4 to 6 seperate monitor sends for the band, running 15" & horn wedges, each with it's own 31 band graphic, which would be "tuned" during set-up so that the monitors would just about rip your ears off but there was no feedback, prior to sound checks. Absolutely everything would be mic'd and compression was applied to the stereo outs.

I can't offer advice on "in ear" monitors.

:cool:
 
dr.:
Is the ATM25 a better version of the PRO25??

It sells for $160 on music123.com so that's not a bad deal, if it's any good.
We recorded our demo using the sennheiser evolution drum kit. I didn't think it was any good, but it might have been the settings.

Any other suggestions?

EZP
 
behringer compressors

I have an Autocom unit in my rack, and one of my favorite blues clubs has several Multicom units in their house rack as well. The "auto" feature can be switched off, leaving full adjustment of attack and release at your discretion.
I have since bought a dbx unit, so the Behringer doesn't see much use anymore.
 
The thing to watch out for with feedback is that when you compress you usually have to raise the signal level to compensate. When you raise the level you also raise the noise floor and will start to raise the level of background noise and increase the chances for feedback. Use as little as possible and have it set more for soft limiting than hard compression. A noise gate will help eliminate the problems for drum mics. Put the gate before the compressors.

Your best defense against feedback is a good graphic and prametric eq inline with the stage monitors. Find the offending frequencies in the stage monitors and cut them until the ringing is gone. This can make the monitors sound crappy sometimes so finding just enough cut to still sound good and eliminate most feedback is the key. If you guys are using ear buds it shouldnt be as big of an issue.
 
Auto vs. Multi

White Trash:
You're a little bit confused I guess. The Autocom has Attack and Release knobs and also sports a "auto" feature. The Multicom however doesn't have these 3 parameters, it only operates in "auto" mode.


EZP
 
EZP said:
dr.:
Is the ATM25 a better version of the PRO25??

EZP
Click to expand...

its supposedly a little quieter, i haven't heard it personally, but from what i am told thre is very little difference.
 
I'm always confused! Nothing new on THAT front...

I didn't get a close look at the Multicom unit, (just an observance that the club used several) but I was only referring to the Autocom unit I had.
Didn't make myself too clear when I reread that post.
 
A lot of people rag on their products, but I couldn't argue with the sound that was going through them.
Either my ear is just not that discriminatory, or it's a damn good bang for the buck.
 
I use the ATM25 in the studio and live on Kick and Bass Cabs.

They are pretty darn good for the price. Better would be the AKG d112 (I think the number is, looks like a small football)

But if price is a concern, for the price use the 25.
 
EZP said:
Hi Guys,

I want to compress and limit a part on my band's PA rig (we reached a suffiecient level of proffesionality, I think). I need at least 6 mono (3 volcals, 2 mains and a bass guitar) compressors / limitters, and one or two extra wouldn't hurt (electric guitars or drums)
I'm thinking about a pair Behringer Multicoms, these are cheap, 4 on a 1 rack space, and all of you guys think of Behringer as a good comp. manufacturer.
The one problem I have is that they don't have attack or release knobs, which are supposed to work 'automatically'. Are these knobs essential or does the Multicom work well without them?

Input on experience with compressors without these features are welcome!!

Thanks Guys,
EZP
Click to expand...

For the amount of money you'll end up spending on those multicoms, you could buy two Autocoms (two channels apiece) only burn 1 extra rack space, get compression, expansion, limiting, and gating, and have total control over all aspects of the compression settings.

That and it's even got a nifty little "enhancer" knob (a la the BBE Sonic Maximizer) that gives you a loudness algo. (USE SPARINGLY)
 
You must log in or register to reply here.
Back
Top