2 mono compressors or a 1 stereo compressor?

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BobbyBalow

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I have a FMR RNC and I want to track drums. Is it better to use 2 mono compressors for the overheads or just run the overheads into the RNC and track it as a stereo channel?

Any input is greatly appreciated!
 
I'd argue (heavily) against compressing on the input anyway. Especially the overheads.
 
I don't compress them on the way in, but your decision would be whether to have the channels linked on the compressor, if it's a 'kit image' linked might be the way to go. As for the tracks -dual mono here to allow full flexibility on panning, level and width. (I set up linked control groups in Sonar, one for fader level pair and a 'reversed link' pair on the pans for one-slider width control. Works slick. :D
 
The compression would be dictated by the kit and the mic placement. You could link a close X-Y pair. Maybe it'd work with an ORTF pair. It probably wouldn't work with a spaced pair. It most certainly would fail dramatically with a close/far pair.
 
Massive Master said:
I'd argue (heavily) against compressing on the input anyway. Especially the overheads.
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Please tell us more, if you would. I don't compress on the way in, but it's because all my sweet compressors are software. Please tell tell why we should wait, beyond the obvious "once it's printed you can't change it" thing.
 
The 'once it's printed, you can't change it' thing is the most valid reason. The problem happens when you set up the compressor to do it's thing while the drummer is warming up. Then when he plays the song for real, he is hitting harder/softer/differently. Sometimes this can happen from take to take. It's best to leave it for the mix because the performance isn't going to change any more. You can even automate the compressor for certain parts of the song to get the effect you need...
 
Farview said:
The 'once it's printed, you can't change it' thing is the most valid reason. The problem happens when you set up the compressor to do it's thing while the drummer is warming up. Then when he plays the song for real, he is hitting harder/softer/differently. Sometimes this can happen from take to take. It's best to leave it for the mix because the performance isn't going to change any more. You can even automate the compressor for certain parts of the song to get the effect you need...
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Good points Farview. :)
Things I wouldn't think of until I went and spent a fortune on outboard compressors, and learned the old fashioned way that I had wasted mo muney.... :rolleyes:

Peace!

~Shawn
 
Plus the less obvious (to some) things like overdriving the preamp... One of the greatest and simplest ways to destroy an otherwise perfectly decent recording.

But I honestly don't even remember compressing overheads... Parallel, sure - Maybe a bit more than a bit. But not actually strapping a compressor on the overheads - Not even for metal.
 
Farview said:
The 'once it's printed, you can't change it' thing is the most valid reason. The problem happens when you set up the compressor to do it's thing while the drummer is warming up. Then when he plays the song for real, he is hitting harder/softer/differently. Sometimes this can happen from take to take. It's best to leave it for the mix because the performance isn't going to change any more. You can even automate the compressor for certain parts of the song to get the effect you need...
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Good point! I like to add a slight compression over the mix to very gently "glissen" the cymbols on the hardest hits. But this can all be done after the tracking sequence... Wonder why I didn't think of this sooner.

When would a stereo compressor actually come in handy? An acoustic guitar?
 
Use stereo compression when you need to preserve the stereo image of a stereo track. If you compress the sides separately you end up with weird panning effects as the volumes are separately adjusted by the compressors.

IMO some heavy limiting can sound great on individual drum tracks and overheads.
 
I use compression on overheads quite frequently. Certian types of compressors certainly work much better than others, and attack and release settings become more important then with certain other source signals. As for a stereo comp, on ereason I do not like to do this is that your threshold is dictated by only one of the two inputs which can skew things sometimes. It really depends on the source though.
 
..And sometimes 'unlinked is just more fun.. in a ear candy sort of way. ;)
 
I almost always end up compressing the overheads. I do use a stereo compressor.
 
I simply dont like what the compression does to the cymbal wash. I'm still oldskool in that I want the cymbals to hit hard and clear and then get the hell out of the way. I will compress the drum sub stereo track output, but I always leave the overheads out of it. This does not work the same for a distant room mic however. THAT can be killed nicely or as viscious as the fidelity of your gear will allow. Of course when using a distant mic that is compressed to whatever dimensions you desire and the overheads are not, you will need to time align things to get it to sit right..............or not if it doesnt matter...............
 
xstatic said:
I use compression on overheads quite frequently. Certian types of compressors certainly work much better than others, and attack and release settings become more important then with certain other source signals. As for a stereo comp, on ereason I do not like to do this is that your threshold is dictated by only one of the two inputs which can skew things sometimes. It really depends on the source though.
Click to expand...

Right, I have used compression on overheads several times in the past as well. It depends on the sound you are going for.
 
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