Compression on tracks

A

anppilot1

New member
Hey yall. I dont know if this question has ben asked before, or how many times before. If it has, please refer me to the post that you know of. I hate to re-ask an age old question.

Anyway, I just purchased a dbx 266XL and If any of you have ever used this, or a equivelant compressor/limiter before, please tell me where to set this thing to be used on vocals ONLY. This DBX will never be used for anything else except vocals. What do you guys use for a range (settings) that gets good results?



Thanks in advance,
Mike
 
i'm assuming that you are using this compressor outboard between the mic pre and the recorder and not as a mixing tool.

i personally prefer not to compress vocals on the way in. i'd rather add any necessary compression in the mix.

having said that:

you won't be able to employ a set it and forget it, unless you are always using the compressor with the same vocalist into the same mic. even still different songs require different vocal techniques.

i prefer not to compress vocals by more than 3:1 on the way in. i use the faster attack setting possible and a release dependent upon the tempo of the song. faster songs with vocal notes that don't linger mean you can reduce the release. slower songs where the singer's voice will swell and hold require a longer release.

i am not above using a compressor as a limiter - setting the threshold high such that the compressor kicks in just to keep the vocalist from crossing the 0db in digital.
 
Ditto- Cross. I ususally never use more than 3:1 going in, just enough to keep the vocal tame, and with all vocals, I always use the fastest attack time.
 
Most of the time, I compress vocals on the way in. Of course, I always use an optical compressor for the application. Myself, I don't think I'd use a VCA compressor on the way in for vocals. It's just so easy and convenient with an optical compressor/limiter... One knob.

Occasionally, I'll use two optical compressors in series on vocals going in. I'll set one probably varying from about 3:1 to about 7:1, depending on the input signal at a given time. Then I'll set the other probably varying from about 7:1 to about 15:1, depending on the input signal at a given time. All-in-all, I probably get about a good -15dB to -18dB gain reduction on the hottest signal input peaks.

This is about as close as I can get to a "One size fits all." approach while compressing vocals going in.

Then again, I've got my first FET compressor, one I actually own myself and will permanently reside in my studio, coming in next week, so all bets are off.
 
After I learned my compressors, it just became easier putting the compression on the vocal going in. Not much however, as others have said. Very light just for limiting purposes or mild control. You can always add more later so keeping it light now could pay off later when you mix.

Alternatively if you know the sound you're after and are confident, just burn it. Saves time later.

Limiting is generally done at 10:1 ratio or greater with low threshold. Attack and release to your taste. This just shaves off the loudest points in your track to keep it under control.

If you want a little more control then 3:1 ratio at moderate threshold 1-5db maybe, 20ms attack and 100ms release.

Another option is to color the vocals with the sound of the compressor but doing little to no compressing and possibly light limiting to go after extreme peaks. This can be done with very high threshold up to even 15-20db, 1:1.5 ratio, and attack set fast and release moderate.

Lots of options here but basically it boils down to 2 approaches when tracking:

1. limiting or light compression to control peaks
2. coloring the sound with little to no compression by passing the signal through the compressor for effect.

If you really want to smash the vocal for effect that is generally done in the mix.
 
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Dont listen to these guys, they all record Egyptian Dance Hall music in bad rooms. 10 to 1 all the way baby for vocals, dont be scared! if you have your attack and release right it'll sound like you are just really good at riding the faders and you'll have PLENTY of backup for louder passages, ususally. IDont know any singer that I've done that can get away with something in the 3/1 range... just not happening.
Use an optical if you can get your hands on one.
I've found 10/1 with the lowest passages barely lighting up reduction meters (like 1db) works great and I dont have too much trouble with digital overs and the vocals sound nice and even and smooth, level wise. Attack and release are crucial.. fast attack, release to taste.
Use it, abuse it, thats what I say. Dont be scared. Sounds great.

Lotsa love and happy thanksgiving and everyone kiss my ass. :)

Peace!
Paul
 
ElectroH Blackfinger for vocals anyone?

I'm wondering if anyone has tried the EH Blackfinger opto-compressor on vocals. No, I can't afford an LA-3a!
 
Sorry, but nope.

At that price, it might be worth giving it a try to see how you like it. If it doesn't work for you, you can turn-around and sell it again to get most, if not all, your money back.

I presume it's designed as a guitar/bass pedal, so you'd need to find-out if it deals with line-level signals very well.

Based on the reviews on Harmony Central, it seems it does work with line levels quite fine and all but one out of place review have nothing but positive things to say about it.
 
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