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n4eem
New member
hey is a compresser realyy important in recording vocals, if so why??? thanx
Dogman
Unkle Ticklefingers
Probably not so important during the tracking, and you can probably get by without one, depending on musical style, and what you expect for an overall sound. What kind of music do you do? Also, do you use software to record, or mix in, or is it a stand alone recorder?
Ed
Ed
J
jkokura
New member
Nothing's neccessary really. You can get great results either way if you do it right. It's easier to get the sound I want when I use one. I like the RNC I've got...but it's likely the best compressor I've used so far...
jacob
jacob
S
soundchaser59
Reluctant Commander
I only rely on one because I'm a crappy singer and I have no mic technique. A well trained singer could probably record without one.
R
ryanformato
New member
With 24 bit recording these days it really is unnecessary for compressors before going in the box UNLESS you want that compressor to color the sound a certain way. All singer's should learn mic technique and it isn't very hard. You have to teach them if they get louder they have to step back a bit (or lean back) and if they want a more intimate sound, get real close to the mic.
J
JohnMoxey
New member
Hi
The reason it is commonly used is because of the broad dynamic range singers, especially untrained singers, have. Mic technique is one way for the singer to address the problem, so is training your voice and learning about projection.
The main application in terms of vocal, pre-recording, is when you use close microphone placement. Still not necessary, but it can help reduce a spike without dropping the overall recorded vocal level.
Once you are in a computer domain there are lots of compressors available, depending on platform and recording software.
One thing to be aware of is that most outboard compressors are analog, where as the computer one manipullates digital information.
Personally I use an analog compressor rarely, but they have a nice sound, and when needed they have been very useful.
Cheers
John
The reason it is commonly used is because of the broad dynamic range singers, especially untrained singers, have. Mic technique is one way for the singer to address the problem, so is training your voice and learning about projection.
The main application in terms of vocal, pre-recording, is when you use close microphone placement. Still not necessary, but it can help reduce a spike without dropping the overall recorded vocal level.
Once you are in a computer domain there are lots of compressors available, depending on platform and recording software.
One thing to be aware of is that most outboard compressors are analog, where as the computer one manipullates digital information.
Personally I use an analog compressor rarely, but they have a nice sound, and when needed they have been very useful.
Cheers
John
Fishmed
Well-known member
If you are looking for a vocal that sounds smooth throughout your mix, I would say that using a compressor is very important.
Wheather you want to use H/W or S/W I think it would be of personal preference.
If you work with singers that have great technique and skill then you can get away with using the compressor during tracking; otherwise, use it during mixdown.
Wheather you want to use H/W or S/W I think it would be of personal preference.
If you work with singers that have great technique and skill then you can get away with using the compressor during tracking; otherwise, use it during mixdown.
L
lumbago
New member
Because the vocal is usually the focus of your song, it has to be intelligible above everything else in the mix.
A lot of recorded instruments compete with the frequency bands occupied by vocal, guitar and brass mask the vocal pitch and hihats and cymbals mask the sibilance in the voice.
So you need to make room for the vocal in the mix.
One way is to use EQ to reduce the volume of instruments in the 250Hz to 4kHz range (and possible beyond). Then your vocals will be more prominent.
Another way is to use compression - so when the loud and soft vocal dynamic range is reduced, the entire vocal track can be raised closer to the peak recording level, offering maximum prominence.
If you don't have a compressor, but you *do* record to software program, you can drop the peaks in vocal volume by programming volume curves into your recorded track. Often this means you can boost overall vocal volume without compromising 90 percent of the dynamics in the performance.
A compressor can be your friend or your worst enemy - it is overused and badly used by so many home recording engineers. If you can hear it working, you've done it wrong. If the VU needles are pinned on 0dB, you've done it wrong. If you reach for it *every* track, and use identical settings, you've probably done it wrong.
A lot of recorded instruments compete with the frequency bands occupied by vocal, guitar and brass mask the vocal pitch and hihats and cymbals mask the sibilance in the voice.
So you need to make room for the vocal in the mix.
One way is to use EQ to reduce the volume of instruments in the 250Hz to 4kHz range (and possible beyond). Then your vocals will be more prominent.
Another way is to use compression - so when the loud and soft vocal dynamic range is reduced, the entire vocal track can be raised closer to the peak recording level, offering maximum prominence.
If you don't have a compressor, but you *do* record to software program, you can drop the peaks in vocal volume by programming volume curves into your recorded track. Often this means you can boost overall vocal volume without compromising 90 percent of the dynamics in the performance.
A compressor can be your friend or your worst enemy - it is overused and badly used by so many home recording engineers. If you can hear it working, you've done it wrong. If the VU needles are pinned on 0dB, you've done it wrong. If you reach for it *every* track, and use identical settings, you've probably done it wrong.
Ford Van
Banned
A/D converters DO have a sort of "sweet spot", meaning, a level where they sound their best. Bit resolution isn't the ONLY defining aspect of A/D's.
With that in mind, on certain things, you may want to keep your recorded track within a level range on the A/D, and for some singers, a compressor might be the only way you can achieve that.
The trick to tracking vocals with a compressor is to make sure you use a pretty low ratio (2:1 or less), and a long release time (at least 500ms, but possibly more like 1500ms!). Probably won't be so good to do NO MORE than 6dB of gain reduction at any point.
These are very general settings. I have done differently with good results.
The bane of matching analog gear and digital gear is that they behave almost exactly opposit of each other in regards to distortion.
Analog will distort more if levels are really high. Digital will distort more if the levels are really low.
So, if we turn down our preamp, and keep it out of any possibility of producing distortion, we produce low levels going to the A/D converter. Low levels at the A/D converter means more distortion from the quantization errors.
Inversely, running the preamp hot will produce more distortion, but the A/D converter will of course will not produce distortion from Q errors.
Somewhere in the middle, we have to work.
With that in mind, on certain things, you may want to keep your recorded track within a level range on the A/D, and for some singers, a compressor might be the only way you can achieve that.
The trick to tracking vocals with a compressor is to make sure you use a pretty low ratio (2:1 or less), and a long release time (at least 500ms, but possibly more like 1500ms!). Probably won't be so good to do NO MORE than 6dB of gain reduction at any point.
These are very general settings. I have done differently with good results.
The bane of matching analog gear and digital gear is that they behave almost exactly opposit of each other in regards to distortion.
Analog will distort more if levels are really high. Digital will distort more if the levels are really low.
So, if we turn down our preamp, and keep it out of any possibility of producing distortion, we produce low levels going to the A/D converter. Low levels at the A/D converter means more distortion from the quantization errors.
Inversely, running the preamp hot will produce more distortion, but the A/D converter will of course will not produce distortion from Q errors.
Somewhere in the middle, we have to work.
B
Big Kenny
New member
Is that different from clipping?Ford Van said:
Ford Van
Banned
Yes. Talkng about something altogether different.
B
Beck
Guest
I recorded for a couple years in my early portastudio days (80's) with no compressor at all – just mic technique and riding faders on mixdown. However, after I started using one there was no going back.
Personally I wouldn't record vocals without one today. It can be done, but using a good compressor makes life easier. These days I almost always use a compressor and a dedicated de-esser.
-Tim
Personally I wouldn't record vocals without one today. It can be done, but using a good compressor makes life easier. These days I almost always use a compressor and a dedicated de-esser.
-Tim
brendandwyer
New member
I think since the 1980's compressors have been overused. I think it results in a sterile and artificial feel from the music. I think a lot people confuse a natural sounding recording with a "warm" recording
dr.colossus
New member
I notice that I sing much better when I track with compression. I also like to utilise the large tracking rooms natural reverb so i'll often sing up to 2' from the mic and compress fairly heavily when tracking. I do most of my compression when tracking to save me from having to make to many decisions during mixdown.
Anyway the point of the matter is that for me and my terrible my technique and fluctuating dynamic, and the pursiut of flava, yes the compressor is necessary!
Anyway the point of the matter is that for me and my terrible my technique and fluctuating dynamic, and the pursiut of flava, yes the compressor is necessary!