E
england
New member
I'm using a 4-tracker with one 'send' and one 'return' going to a compressor during mixdown. What would be the difference between going 'mono' or 'stereo' if I'm using only one set of send/returns?
regebro
Insane Genious!
None. The send would be mono.
I can see no reason to put a compressor on a send-return at all, really. What are you trying to accomplish?
I can see no reason to put a compressor on a send-return at all, really. What are you trying to accomplish?
E
england
New member
When I mixdown from a portastudio to cassette I use one send/return to add a little reverb, and the other send/return to EQ a bit then slightly compress the entire mix. S/R - Reverb; S/R - EQ -> Compressor. Is that not correct?
Shailat
New member
regebro said:
Why do you think that there is no reason to use a channals insert - send and return?!. Perhaps you mean an effect bus like Aux?
Using the channals insert is the proper way of hooking up a compressor.
Kelly Holdridge
New member
uh...whoooaaaah...
Use the compressor pre-mixer or post-mixer. That channel insert shit for compressors doesn't make sense. Are you running other stuff, too?
Don't know exactly what you're doing, but I'll always run the compressor independent of the mixer.
FWIW, IMHO....
Use the compressor pre-mixer or post-mixer. That channel insert shit for compressors doesn't make sense. Are you running other stuff, too?
Don't know exactly what you're doing, but I'll always run the compressor independent of the mixer.
FWIW, IMHO....
Kelly Holdridge
New member
Oh. You're mixing down to final media.
Run your mixer into the compressor and compressor into your CD/tape/whatever. You'll need a two channel compressor (or more), or you'll get mono no matter how you connect this stuff.
Run your mixer into the compressor and compressor into your CD/tape/whatever. You'll need a two channel compressor (or more), or you'll get mono no matter how you connect this stuff.
S
Sabith
New member
well......
channel inserts are the way U are supposed to use a compressor...... when this is done they compress the signal as itz being made.
so not using channel inserts does kinda shorten the amount of things U can do with a compressor.
Sabith
channel inserts are the way U are supposed to use a compressor...... when this is done they compress the signal as itz being made.
so not using channel inserts does kinda shorten the amount of things U can do with a compressor.
Sabith
Kelly Holdridge
New member
I still don't see the difference between that and running a compressor pre-mixer. You might be able to EQ your signal before the compressor, but a good side-chain compressor takes any need for this out of the EQuation (HA!).
One reason I'm big on this: if you use channel inserts, you are relying heavily on your pre-amp (which is fine, i guess). But get one good spike, one good snare whack, and you're then trying to compress (through your channel insert) a distorted signal. Compress it before it gets to your pre-amp and you don't have to worry about that problem (or possibly screwing your pre-amp, if your gain is set WAY too high). But this is based on the recording itself, not mastering.
I don't mean to step on anyone's toes... whatever works for whatever type of recording you're doing is great. But you might avoid some problems running compressor pre-mixer for recording, and post-mixer for mastering.
Sometimes I like to drop compressors on my toes. Just to see how well they compress things... (audience laughs)
One reason I'm big on this: if you use channel inserts, you are relying heavily on your pre-amp (which is fine, i guess). But get one good spike, one good snare whack, and you're then trying to compress (through your channel insert) a distorted signal. Compress it before it gets to your pre-amp and you don't have to worry about that problem (or possibly screwing your pre-amp, if your gain is set WAY too high). But this is based on the recording itself, not mastering.
I don't mean to step on anyone's toes... whatever works for whatever type of recording you're doing is great. But you might avoid some problems running compressor pre-mixer for recording, and post-mixer for mastering.
Sometimes I like to drop compressors on my toes. Just to see how well they compress things... (audience laughs)
John Sayers
Solar Power!!
Take 2 - I started to reply and the power went glitch and I had to reboot etc - Hey england kelly is right - patch the output of your mixer into your compressor - I assume you have a stereo one else you wouldn't have asked - then patch the output of the compressor into your cassette and put the cassette recorder into record by hitting record and then pause. Patch the output of your cassette into your amp/monitor line input. Now play a single track panned center and set the level to peak correctly on your 4 track output meters. Now make sure the link button is selected on your compressors (this is important! - if there isn't one on the front there will be a pair of link plugs on the back that you must connect together) This makes the left compressor the master and you need only set it as the right will follow.) Now select gain reduction (GR) on the compressor meter and decrease the threshold on the compressor until it is reading around -10db. Now set the output of your compressor to read zero on your cassette recorder so that left and right are equal. You are now ready to mix and you will hear the effect of the compression because you are listening thru it - hope all this helps
cheers
john
cheers
john
S
Sabith
New member
How can U compress a signal BEFORE it hits the preamp???
A mic signal is so weak that it would NEVER get compressed....
maybe I'm missing something but I thought channel inserts were the way to go....
and when U said "One reason I'm big on this: if you use channel inserts, you are relying heavily on your pre-amp
(which is fine, i guess). But get one good spike, one good snare whack, and you're then trying to compress (through your channel insert) a distorted signal."
Uh.... I think thats backwards, the compressor compresses the signal after the preamp, then sends it to board with a unpeaked lvl......
Sabith
A mic signal is so weak that it would NEVER get compressed....
maybe I'm missing something but I thought channel inserts were the way to go....
and when U said "One reason I'm big on this: if you use channel inserts, you are relying heavily on your pre-amp
(which is fine, i guess). But get one good spike, one good snare whack, and you're then trying to compress (through your channel insert) a distorted signal."
Uh.... I think thats backwards, the compressor compresses the signal after the preamp, then sends it to board with a unpeaked lvl......
Sabith
Kelly Holdridge
New member
A decent compressor will almost always have a post-compression gain. In a way, you can use compressors as pre-amps, but I'm sure there's a coloration issue in there somewhere. So just make up for your compression before it leaves the compressor, and you're set (whether it's pre- or post- mixer).
I'd rather use inserts for real FX, like reverb, delay, etc. IMHO.
I'd rather use inserts for real FX, like reverb, delay, etc. IMHO.
S
Sabith
New member
Aren't FX like that supposed to be patched via aux buses??
Channel Insert = Compressor, EQ
Aux buses= Reverb, Delay ect......
Sabith
Channel Insert = Compressor, EQ
Aux buses= Reverb, Delay ect......
Sabith
sonusman
Banned
HO boy!!!
Confusion in the mix!!!
I am with Sabith here. Compressors, eq's, gates, any dynamic type processing should work off of the insert, or, post subgroup or master.
Reverbs, delays, chorus, etc....should use aux sends.
I also do not agree at all with trying to use a compressor as a sort of preamp. The issues with trying this are too many, and complex to explain. But, it won't work effectively at all. And the noise that the compressor would generate trying to boost a signal that much would be noticeable even on crappy PC speakers. Mic pre amp's are designed to increase the gain of a microphone signal without adding too much noise at all. Compressors are not made to do this. They offer a little make up gain to maximize the post compressor level for the next gain stage, but not to boost a signal in excess of 15db.
Ed
Confusion in the mix!!!
I am with Sabith here. Compressors, eq's, gates, any dynamic type processing should work off of the insert, or, post subgroup or master.
Reverbs, delays, chorus, etc....should use aux sends.
I also do not agree at all with trying to use a compressor as a sort of preamp. The issues with trying this are too many, and complex to explain. But, it won't work effectively at all. And the noise that the compressor would generate trying to boost a signal that much would be noticeable even on crappy PC speakers. Mic pre amp's are designed to increase the gain of a microphone signal without adding too much noise at all. Compressors are not made to do this. They offer a little make up gain to maximize the post compressor level for the next gain stage, but not to boost a signal in excess of 15db.
Ed
Kelly Holdridge
New member
Aha!
The only pre-amps I've used are mixer pre-amps. I haven't the need for external pre-amps (I kinda like the way the compressor gains signals), so maybe we're BOTH right here.
If you are poor or if your Dual Tube MP is shot, then run your compressor first (in serial). This will keep whatever pre-amps in your board from freaking out on spikes.
If you are using an external pre-amp and have decided not to record in your extra-large Rolls Royce today, then run your compression through channel inserts (which will turn your signal mono in this case, btw).
I can't argue with Sonusman. But it's a lot easier and inexpensive to run a good compressor in serial than to start fiddling with inserts and other partially re-routed signal paths.
Just remember: once you start using the channel inserts, make sure you've got a different audio processor for each channel (or track, if you need individual track processing). Otherwise you're throwing all your sound into a garbage can and mixing it all up.
Why aren't pre-amps made that instantly run into a built-in compressor? Anyone?
The only pre-amps I've used are mixer pre-amps. I haven't the need for external pre-amps (I kinda like the way the compressor gains signals), so maybe we're BOTH right here.
If you are poor or if your Dual Tube MP is shot, then run your compressor first (in serial). This will keep whatever pre-amps in your board from freaking out on spikes.
If you are using an external pre-amp and have decided not to record in your extra-large Rolls Royce today, then run your compression through channel inserts (which will turn your signal mono in this case, btw).
I can't argue with Sonusman. But it's a lot easier and inexpensive to run a good compressor in serial than to start fiddling with inserts and other partially re-routed signal paths.
Just remember: once you start using the channel inserts, make sure you've got a different audio processor for each channel (or track, if you need individual track processing). Otherwise you're throwing all your sound into a garbage can and mixing it all up.
Why aren't pre-amps made that instantly run into a built-in compressor? Anyone?
C
camus
New member
JoeMeek makes very good preamp/compressor combos. A tad heavy on the colouration perhaps, but alot of people seem to like em (including me).
John Sayers
Solar Power!!
The Drawmer 1960 is a great valve mic pre into a compressor - stereo as well!!