compressor

[speaker]

how important is using a compressor in recording at home. and what will the effect be on the finished song

 

[Teacher]

Compression in recording, is almost as essential as panning and faders. The effect of compression used properly would be a more professional sounding mix.

 

[Shadowdog]

When is it most commonly used, before or after the recording? I have a DBX 266 Project 1 Dual Compressor/Limiter I was wondering if I could use for recording, but am not sure where to put it. I have Presonus Digimax preamp that I plan on running thru ADAT to my soundcard. Do I need a compressor to run thru first before I go to my soundcard. Or is most compression done during mixing. I am confused on this too.

 

[JazzMang]

There is no right or wrong. Some people prefer to compress while tracking, while others compress individual tracks (or busses) during mixing. Personally, I believe that tracks should be recorded as they are, then messed with later.

 

[fraserhutch]

There is no right or wrong. Some people prefer to compress while tracking, while others compress individual tracks (or busses) during mixing. Personally, I believe that tracks should be recorded as they are, then messed with later.

I'm with you on that - I personally like to track as flat as I can. Sometimes it's unavoidable though.

Also, there are those who compress the bus during mixdown.

 

[Shadowdog]

So if I were to want to compresson mix down, would my 2 channel DBX Project 1 266 be a good tool. It has a stereo couple button too, which I do not what is used for??

Or do I want a compressor with more channels to "manipulate" each track (or more than 2.) If so what are some good models in the under $1000 range (or do I need to go even need to spend that much $$$?)

 

[JazzMang]

So if I were to want to compresson mix down, would my 2 channel DBX Project 1 266 be a good tool. It has a stereo couple button too, which I do not what is used for??

I would strongly stay away from mixdown compression. It is vapid garbage... unless done by a professional with some sweet sounding gear.

Or do I want a compressor with more channels to "manipulate" each track (or more than 2.) If so what are some good models in the under $1000 range (or do I need to go even need to spend that much $$$?)

now you're talkin! I would look into getting several different 'flavors' of compressors. I would start out with either the RNC or the Art Pro VLA. These are very different animals but are both exceptionally good sounding. Oh.. and both of these are in the sub-$1000 range... closer to 500 if i am not mistaken.... hell... get both!

 

[Shadowdog]

There is no right or wrong. Some people prefer to compress while tracking, while others compress individual tracks (or busses) during mixing. Personally, I believe that tracks should be recorded as they are, then messed with later.

JazzMang,

I am confused. When you say "messed with later," what do you mean, since you adviced compressing during mixdown.

 

[JazzMang]

JazzMang,

... since you adviced compressing during mixdown.

I said no such thing!

That is what I am trying to tell you to stay away from.

All I meant is that you should record the tracks flat. Then while mixing you could compress each track as you feel neccesary, which is then sent back to your mixing workstation. You will mix the song with these individually compressed tracks.

Clarification:

Compression during final mixdown is compressing the entire final stereo mix.
Compression during the mixing phase (which is what you should do in most cases) is what i described above.

 

[Janesaid2me]

I say compress during mixing and get your raw tracks so you can always go back to them if you compress to much or wanna use more.....and how important is it....well i think its the most import thing you can learn to do effectively that will greatly improve your recording from being a begginer to making a decent recording....

 

[Cave Dweller]

I usually try to get my tracks sounding good going into my DAW. be it with Mic selection/placement, different preamps, compression, and EQ (in that order, usually). I try to do rough demos so i can work out ideas before i do the real thing. then i have a good idea of what tones and FX i'm going to use.

Trying to get the sounds right going into the box has always worked well for me....it helps the mix to come together faster, i think. i have to think in terms of the song, and not just the track being recorded.

i've learned the hard way that the philosophy of "I can fix that in the mix" rarely works.

 

[Shadowdog]

I said no such thing!

That is what I am trying to tell you to stay away from.

Sorry, I understood what you meant, just had trouble typing. Meant to type "advised against," but as you can tell by my spelling was having trouble Just got back from a local club, checking out a friend in a jazz band and had too many drinks (too many to try and type anyway.)

So yes, once i get my first digital studio up and running I will have to experiment with using the compression during mixing (not mix down,) which I am still unclear on how you do this.?. But it will become more clear once I start playing with all this.

One question. When compressing while mixing, what is a good number of channels to have with your compressor? Do you combine tracks to one channel in the compressor or is it more of a one to one type thing?

 

[RawDepth]

I do live remote recording and sometimes I am forced to compress or limit during tracking. With some bands, my recording levels are all over the place. I carefully apply a little to keep my dynamics under control. Vocalists eat mics, drummers hit them, and you never know when a pop or a scream is going to blow the mercury right out of the top of the meters. I do, however, use all “Optical” compressors to avoid coloration and I understand how to use them correctly.

But, these guys are right. In a perfect world, you should avoid any and all processing during tracking. Track clean and then experiment with it later till your heart is content. Once you process during tracking, you cannot “un-do” it.

 

[zilby]

I use Pro Tools, and I was wondering if people prefer outboard compressors or something like a Waves plugin compressor? I have been using Waves, and I have not had any problems, but I guess that I don't know what I am missing, since I don't have an outboard gear compressor.

 

[JazzMang]

I use Pro Tools, and I was wondering if people prefer outboard compressors or something like a Waves plugin compressor? I have been using Waves, and I have not had any problems, but I guess that I don't know what I am missing, since I don't have an outboard gear compressor.

Well its just that outboard compressors usually give you a little more of a non-digital sound when compressing. The waves compressor plugin (from what i heard) works pretty well, but it wont give you some of the sonic coloring that the some of the outboard compressors do. A lot of digital compressors (plugins) tend sound a little more antiseptic... and thats the kind of sound you should try and stay away from most of the time.

 

[JazzMang]

One question. When compressing while mixing, what is a good number of channels to have with your compressor? Do you combine tracks to one channel in the compressor or is it more of a one to one type thing?

Well, the thing is that when you go to a digital setup and start mixing digitally, you have the convenience to send individual tracks to be compressed outboard in whatever order you want.

its not that you need a 8 channel compressor... you could get away with 2 or 3 compressors that each have 2 channels of compression onboard and use that for sonic flavoring and dynamic control.

Personally, i like my ART Pro VLA.. it compresses musically and adds a little bit of texture at the same time. i have a few others, but they only see occaisonal work. the VLA is my workhorse... the other compressor i like it the RNC... cuz it just sounds so damn good.

If you want to compress a stereo mixing bus, make sure your compressor has a stereo link function that will apply even compression along its 2 channels.

 

[Random recorder]

Comressing or limiting levels on a dramatic reading

I need some help setting up a limiter / compressor. I have no idea what I'm doing. Recently I made a recording several people performing a dramatic reading of a script from an old radio program. It sounds pretty good except for some of the performers screaming their lines.

I used a dat recorder to record the performers sat at a table speaking their lines. I used three PZM'S (Left, Center, Right) on the table. The performance was recorded to stereo dat.

The recording is pretty clean (no distortion) but the erratic volume levels make it difficult to listen to. Other than the levels the recording sounds surprisingly good.

Would a limiter / compressor be a solution to smoothing the erratic speaking levels? If so what settings on the compressor / limiter would be a good place to start?

 

[JazzMang]

Yes, a compressor could help the sound file even out a little bit. As far as settings go, I would start out with a medium attack time (40-100 ms) and a long release time (500-1250ms). As far as what ratio to use, i'll tell you this: start out with a low ratio (like 3:1) and see how that sounds. your ratio may vary, but with speech, i wouldn't go with anything higher than 10:1. Your threshold level will depend on your relative recording level, so i cant give you any specifics there.
In short, just mess around with it until it sounds good. And dont go overboard... badly compressed vocals sound terribly unnatural.

 

[Shadowdog]

Here is the part I am not understanding about compressing tracks in the digital world (as of now I just have experience in with a 4 track.) If you want to avoid compressing during mixdown. Do I just run individual tracks thru the external compressor and back to the recorder on to a different track to retain the origional?

 

[Stefan Elmblad]

If you know what youre doing, theres no reason not to compress as you lay the tracks down. I usually compress gently (a few dB) at tracking when theres need to even out dynamics in a voice or uneven instrument. Vocals and bass guitar usually are the ones who get this treatment.

When it comes to compressing for making a specific sound, as is often the case with drums, I leave it be until it's time to mix.