T
Toker41
Better Than You
Is it better to compress the vocals while recording them, or after when recording on a PC?
T
The Green Hornet
New member
Yo 41 ToKes:
I'm just going to suggest that you leave the vocal alone, just add some juicy reverb, depending on your ears, and EQ if needed. Leave out the compression and see how your vocal comes out.
If it doesn't work for you, then, I guess you can compress -- I not sure which is better before or after. I always add reverb after the vocal; however, I put reverb in the talent's cans because it gives the vocalist a nice sense of POWER.
I think the more you mess with a vocal, the tougher it is to get a good sound. Just an opinion.
Green Hornet
I'm just going to suggest that you leave the vocal alone, just add some juicy reverb, depending on your ears, and EQ if needed. Leave out the compression and see how your vocal comes out.
If it doesn't work for you, then, I guess you can compress -- I not sure which is better before or after. I always add reverb after the vocal; however, I put reverb in the talent's cans because it gives the vocalist a nice sense of POWER.
I think the more you mess with a vocal, the tougher it is to get a good sound. Just an opinion.
Green Hornet
VSpaceBoy
..loading
I've asked similar questions. The answer I got was:
Compress very little while tracking and then go back an compress as needed later.
For me, I couldn't get what I wanted out of my compressor, so it forced me to realize that it was my micing technique/positioning more than anything. Now a light compression is really all I need.
A tried and true "cure all" that is allways flowing around here is: Spend your time working harder up front when tracking, then later with effects and processing. Most effects exist as crutches to poor recording. <see guys, I listen>
Space
Compress very little while tracking and then go back an compress as needed later.
For me, I couldn't get what I wanted out of my compressor, so it forced me to realize that it was my micing technique/positioning more than anything. Now a light compression is really all I need.
A tried and true "cure all" that is allways flowing around here is: Spend your time working harder up front when tracking, then later with effects and processing. Most effects exist as crutches to poor recording. <see guys, I listen>
Space
K
Kryogh
New member
I agree.
I almost ALWAYS get thru a compressor while I record vocals. Just In case. Ex: the signer WANTS to do all the song, one take for X reason, so you prepare your mic, the pre, everything looks fine, and, once at the chorus, the signer yell 3 times heavier than in the "sound check". May clip. May have to do it again. Signer may be pissed or whatever... anyway, I guess you can imagine all other possibilities.
BUT, if you know who you dealing with, the signer is experienced and now how to control his/her voice, the vocal lines are less variable than..lets say TOOL, well, I wont compress it before recording, and probabely not while mixing.
My opinion!
Fred
sjoko2
New member
Consider a couple of things in arriving at an answer to this question:
a - what do you use a compressor for in recording a vocal.
b - what are the key principles to getting good sound to tape / disk.
For a - the key is to get a vocal recorded at a good level, so it will sit nicely in a mix, without having to worry about the vocal's dynamics. Equally important, without having to put to many restrictions on a vocalist's performance.
For b - something which seems to have become more-and-more a forgotten principle in recording ...... yet it is THE KEY principle in getting a good sounding recording: Get the recording to tape / disc in the way you want it to sound in the final product!! In other words, minimise processing after the recording as much as possible. In other words, avoid "double" processing. In other words, the less processing, the better the final product will sound (if you track it right)
I Could add at least 20 other reasons why to process GOING to tape / disk and not after. So, put your processor(s) in the chain to your recording medium. Spend time getting it right from the source.
a - what do you use a compressor for in recording a vocal.
b - what are the key principles to getting good sound to tape / disk.
For a - the key is to get a vocal recorded at a good level, so it will sit nicely in a mix, without having to worry about the vocal's dynamics. Equally important, without having to put to many restrictions on a vocalist's performance.
For b - something which seems to have become more-and-more a forgotten principle in recording ...... yet it is THE KEY principle in getting a good sounding recording: Get the recording to tape / disc in the way you want it to sound in the final product!! In other words, minimise processing after the recording as much as possible. In other words, avoid "double" processing. In other words, the less processing, the better the final product will sound (if you track it right)
I Could add at least 20 other reasons why to process GOING to tape / disk and not after. So, put your processor(s) in the chain to your recording medium. Spend time getting it right from the source.
Last edited:
K
Kryogh
New member
sjoko2, of course I agree,
but have you ever record a 17 years old metal/alternative signer who think he's the best, the coolest, etc. ?
I do it, more often than I wish, and I dont take any chance.
I bet a few box a compressor will appear in your setup right before the tape / disk thing.
Dont be shy to do it dude, I'm certainely not the more experienced tech here, so, everything I can learn is welcome!!
Fred
but have you ever record a 17 years old metal/alternative signer who think he's the best, the coolest, etc. ?
I do it, more often than I wish, and I dont take any chance.
I bet a few box a compressor will appear in your setup right before the tape / disk thing.
Dont be shy to do it dude, I'm certainely not the more experienced tech here, so, everything I can learn is welcome!!
Fred
sjoko2
New member
Re: sjoko2, of course I agree,
Absolutely! Working with some of them right now!! (Titsofrenix), just sub the "he" for "she".
First - record without compressor (which I normally do not do) to prove that microphone technique is non-existant. (helps with the attitude problem).
Then link an opto compressor in, record again, and squash the hell out of it.
If attitude is still a problem - I better stop or I'll give everyone bad ideas, but I actually "removed" them from the studio in order to start 2 weeks of 10 hours a day rehearsals, mandatory for re-starting recordings
Kryogh said:
Absolutely! Working with some of them right now!! (Titsofrenix), just sub the "he" for "she".
First - record without compressor (which I normally do not do) to prove that microphone technique is non-existant. (helps with the attitude problem).
Then link an opto compressor in, record again, and squash the hell out of it.
If attitude is still a problem - I better stop or I'll give everyone bad ideas, but I actually "removed" them from the studio in order to start 2 weeks of 10 hours a day rehearsals, mandatory for re-starting recordings
K
Kryogh
New member
uh.. question.
Does this band's name have a point beetween the fact that the signer is a SHE?
Sorry certainely sounds stupid from me but...my first language is french.
TITSofrenix ...Tits are boobs form me. Does that mean something else? ? ??? ?????
Hope I dont sound too stoopid and everyone wont read my post from now :|
Does this band's name have a point beetween the fact that the signer is a SHE?
Sorry certainely sounds stupid from me but...my first language is french.
TITSofrenix ...Tits are boobs form me. Does that mean something else? ? ??? ?????
Hope I dont sound too stoopid and everyone wont read my post from now :|
sjoko2
New member
attitude + mental state = schizophrenic
band = all female
play on words = titsofrenix
band = all female
play on words = titsofrenix
T
Toker41
Better Than You
Thanks guys,
Some great advice in there. I had a feeling I'd get opinions favoring both sides.
Some great advice in there. I had a feeling I'd get opinions favoring both sides.