Compressor suggestions?
- Thread starter ace3
- Start date
Dogbreath
Im an ex-spurt
I think you can pick up the Pro VLA for about $200 now. The original, not the VLA II. Check ebay. I picked one up and swapped the tube for the AT series instead of the AX series. Nice comp for the bux.
Not sure about $$$, but the RNC is another to look at. Don't have one but have read some good stuff about them.
A search will give ya more options.
Hope it helps.......
Not sure about $$$, but the RNC is another to look at. Don't have one but have read some good stuff about them.
A search will give ya more options.
Hope it helps.......
I think you can pick up the Pro VLA for about $200 now. The original, not the VLA II. Check ebay. I picked one up and swapped the tube for the AT series instead of the AX series. Nice comp for the bux.
Not sure about $$$, but the RNC is another to look at. Don't have one but have read some good stuff about them.
A search will give ya more options.
Hope it helps.......
ok kool thanks I'll hav to look into that!
guitar zero
c = b#
I have both the ART VLA and the RNC, both are excellent for the money. Change the tubes out if you get the ART VLA, they come with crappy ones. Then that unit will do a great job.
However, if you're using for vocals, I think the RNC would be a better choice. It's cheaper, it's clean and won't color your voice with any tube distortion, unless of course that's what you want.
In this price range those are pretty much your choices
However, if you're using for vocals, I think the RNC would be a better choice. It's cheaper, it's clean and won't color your voice with any tube distortion, unless of course that's what you want.
In this price range those are pretty much your choices
jdier
New member
I really like my RNLA for aggressive vocal compression.
Massive Master
www.massivemastering.com
I would very highly suggest NOT compressing on the way in... There are SO many negatives and literally NO positives to it - Especially when you're talking about "incredibly budget-friendly" units. It's one thing to want to tag a dB or two with a LA2A - It's another to run it through a $200 compressor and overdrive the input stage with it.
Massive makes a good suggestion here. What is your purpose for getting a compressor. If just trying to keep your levels from clipping, simply to turn them down to a proper level and get better sound from your preamp and converter, save the money, and thank us later. Generally speaking that is all cheaper compressors are really good for, and not even necessarily that good at that either. In a live setup there is more justification for that. In recording that purpose is just adding to and masking the original problem (which would be poor technique) and the comp just becomes an expensive money soaking bandaid that is being used to fix a cut that needs stitches.
oh ok yea im not real experienced with engineering I'm more of an artist then and engineer but I was just told to try to compress the vocals going in and that would = a cleaner mix so I wouldn't have to add a lot of compression using adobe hence (distorting the dry vocal track?) and I would just merely have to work with equalizing and panning. I guess their basis for saying this is because If I compress the vocals going in, than this is my dry vocal I'm working with...
The REAL Jigsaw
New member
Ace I'm a recording artist as well and I can tell you beforehand that if you don't have too much experience with using stuff like compressors, EQs, etc., then it's a good idea to hire a mixing engineer for this task. I was given that advice from an actual engineer with PLENTY of studio mixing experience and he said not to add EQ, reverb, effects. Compression, he said I can use a little if I know what I'm doing. So instead of possibly screwing up my track, I'ma just send him my raw vocals. So that is what I suggest you do.
Peace
Peace
thanks and yea that sounds like a great idea its just finding someone that is willing to mix for me. If i had the finances I would send all my work to engineers to handle the job but I'm also working on an album and trying to fund everything for that..for my album im paying 800/song to mix and thats out of pocket so im trying to learn on my own so I can still put out mixtapes here and there but dont have to invest major $$$ for it..but thanks for the feed ima see what i can do...if your engineer wants to take up a new project than shoot im all ears! lol
Dogbreath
Im an ex-spurt
I would suggest not comping during tracking. Compression can't be undone once it's committed to "tape". At least til you have a good grasp of it and know what you want to accomplish.
Assuming you're tracking in 24 bit, just bring down your levels at the input stage. I keep my tracking levels at -15 to -18 with peaks no higher than -6 to -8. This will help you with a cleaner, easier tune to mix and leave headroom for the ME.
When I get my multi-track together, I'll usually just compress my kick, snare, vocals and bass guitar. Sometimes other instruments but not always.
If I'm pumping it up for a myspace thing or the person wants a louder mix, I'll comp the shit outta the 2 track (yuck) and burn that track to CD for em. I prefer a gentler compression so I still have some dynamics left in the song.
Just some food for thought man and this is just how I do it.
sometimes...
Assuming you're tracking in 24 bit, just bring down your levels at the input stage. I keep my tracking levels at -15 to -18 with peaks no higher than -6 to -8. This will help you with a cleaner, easier tune to mix and leave headroom for the ME.
When I get my multi-track together, I'll usually just compress my kick, snare, vocals and bass guitar. Sometimes other instruments but not always.
If I'm pumping it up for a myspace thing or the person wants a louder mix, I'll comp the shit outta the 2 track (yuck) and burn that track to CD for em. I prefer a gentler compression so I still have some dynamics left in the song.
Just some food for thought man and this is just how I do it.
sometimes...
Dogbreath
Im an ex-spurt
I only keep my tracking (input) stage low. This gives more wiggle room later. If you're in 24 bit, there's lotsa room to play with. Don't to eat up all the sonic space right off the bat.
Once I have all my tracking done, then I start my comp, EQ etc on the individual tracks.
I play metal and blues and I guess I'm just old school but I like to hear the dynamics in a song instead of the pumped up smooshed sound of the loudness wars.
Call me old.......just not late for dinner.
Once I have all my tracking done, then I start my comp, EQ etc on the individual tracks.
I play metal and blues and I guess I'm just old school but I like to hear the dynamics in a song instead of the pumped up smooshed sound of the loudness wars.
Call me old.......just not late for dinner.
mrbowes
New member
There's nothing wrong with tracking with compression as long as it gives you the sound you want. In some situations it can help performers who lack really good mic technique.
Sure, you're committed to that sound once it's recorded, but if it sounds good, then perhaps you won't need to make many adjustments.
If you're able to buy a used Art Pro VLA or something similar, then give it a try. If you're not happy with the results, you'll be able to sell the compressor for pretty much what you paid.
www.DealsForChange.org
Sure, you're committed to that sound once it's recorded, but if it sounds good, then perhaps you won't need to make many adjustments.
If you're able to buy a used Art Pro VLA or something similar, then give it a try. If you're not happy with the results, you'll be able to sell the compressor for pretty much what you paid.
www.DealsForChange.org
Dogbreath
Im an ex-spurt
And maybe to clarify a bit...
If you track something hot...like right below clip... the headroom is almost gone. What the headroom is for would be stuff like EQ. I use subtractive eq mostly. Like I'll cut certain frequencys on certain tracks before I'll boost. When I boost EQ it starts eating up the headroom leaving less room for the ME (be it you or a pro)
Think of it this way...you have a glass (your DAW) and you're going to make a drink. If you fill it up with with Jack right off the bat, ther's no room for the coke or ice cubes. Kind of a lame analogy but you get the gist.
Hope it helps mang...
If you track something hot...like right below clip... the headroom is almost gone. What the headroom is for would be stuff like EQ. I use subtractive eq mostly. Like I'll cut certain frequencys on certain tracks before I'll boost. When I boost EQ it starts eating up the headroom leaving less room for the ME (be it you or a pro)
Think of it this way...you have a glass (your DAW) and you're going to make a drink. If you fill it up with with Jack right off the bat, ther's no room for the coke or ice cubes. Kind of a lame analogy but you get the gist.
Hope it helps mang...
And maybe to clarify a bit...
If you track something hot...like right below clip... the headroom is almost gone. What the headroom is for would be stuff like EQ. I use subtractive eq mostly. Like I'll cut certain frequencys on certain tracks before I'll boost. When I boost EQ it starts eating up the headroom leaving less room for the ME (be it you or a pro)
Think of it this way...you have a glass (your DAW) and you're going to make a drink. If you fill it up with with Jack right off the bat, ther's no room for the coke or ice cubes. Kind of a lame analogy but you get the gist.
Hope it helps mang...
okay yea im startn to understand it more...basically I want to record my vocals at a lower frequency so ill have more headroom to work with the file itself. if i record it right under clipping i have no room to work with the file itself?
