Compressor

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So how good is the plug in compressor with sonar? How does it compare to a hardware compressor under for under $200? I'm looking at either the Behringer 4400 (I would really like the 4 channels) or the almighty RNC (I definitely like the quality but more channels would be helpful).
 
are you recording 24 bit?

if you are recording 24 bit, and you don't set your gain to high on your pre-amp, you should not need a compressor during tracking. that's not bible, that just my personal observation. since switching from 16 to 24 bit, i've removed my compressors from the recording chain completely. now there's nothing between my A/D device and my amp/direct box/mic but the pre-amp.

personally, i thought the cakewalk compressor was just as good as the behringer 4400. i'm not in love with the limiter (because it's not look ahead) however.

i use dsp-fx's peak limiter/optimizer.
 
If you can, go with the Waves Renaissance compressor... 48 bit internal precision, alot of "analog" features, and if I'm not mistaken, although I havent had the opportunity to try it, I think Waves stuff will support Sonars automation. Someone correct me if I'm wrong on that. Waves stuff rocks. The Renaissance EQ is 48/64 bit also. Penty of fun in the SuperTap, and if you use waves stuff, you get a pretty damn good dither. The s1 has some cool effects too, kinda makes stuff stick out of your speakers. Check out the trial downloads if you can. I have some DSPFX brand or something like that that hangs the computer every time, dont like em much.
Lastly, if you buy a software compressor, in theory, you get many of them, all you need, whereas with hardware, you get one for the money. Spend the money on software, and upgrade your pre-amps/converters with money you save by NOT buying 15 hardware compressors. Converters and good preamps are more inportant, at least to me. Thats how I think anyway... :)
Peace,
Paul
 
I must agree.

...with Tubedude.

don't buy a hardware compressor. Plug ins are the best value for your money by far. You can get a great sounding software compressor and use it in multiple instances within a song as if it were 5 compressors, wheras if you buy a hardware unit, you've only got one.
And here's my recommendation:
The Ultrafunk Sonitis 2.a Compressor. Ultrafunk is a company from Norway that many people don't know of (yet!), and they make one awesome compressor plug-in!! It has all your standard features and then some, plus a vintage mode that simulates several vintage compressor (very well, I might add) and the interface is very sexy. And guess how much it costs. $50 measly bucks. I'm telling you I think it is the best compressor plug in on the market at any price.
Go to Ultrafunk.com and download the free demo. They also have a great reverb, which I highly recommend. Their EQ and Chorus are not quite as incredible, but still very good.
And no, I don't work for them. I just htink they are great plug-ins.
Aaron
http://www.aaroncheney.com
 
I forgot to mention...

I have FX1, and I believe the compressor in SONAR is very similar.
FX1 sounds OK. The metering sucks. SUCKS. If they didn't improve the metering in SONAR, then they should have. The other thing I hate is that they tried to market it as 5 grreat effects: compressor, limiter, expander, gate, dynamics processor. What a bunch of hoooey. That's like marketing a car as an transportation device, a chair, a radio, a glovebox, and a trunk, and an ashtray. Please. About all I use it for is peak limiting.
Just go for the Ultrafunk.
Aaron
http://www.aaroncheney.com
 
Here's what I can offer

I would say this:
They are both good enough that choosing between them is a matter of taste, not a matter of one being better than the other.
And then when you factor in the price....

Aaron
http://www.aaroncheney.com
 
hmm..

I haven't messed with the Ultrafunk, so I can't comment... I can give you another word on the Waves though- most of the Waves products come in a package, and if I'm not miostaken, you can get the Renaissance compressor in a package with the L1 Ultramaximizer, which is about as good as it gets for software mastering/leveling and dithering. And its easy.
Also, the S1 is WAY better than using your normal pan control, use it as pan instead. And, a very good eq to boot. (48/64 bit internal on the Renaissance EQ also)
$50 for the other is probably really good. If I had $50, I'd just go ahead and buy it (downloads take years on my comp), but for $300 or so, you get a whole package of premium quality effects.
Just my 17 cents worth :)
Peace
Paul
 
That sucks, Tube dude.
I only got $.02 worth!

One other point:
If Waves will support SONAR automation, that is one thing it would have over the Ultrafunk, which probably doesn't.
Although, why would one need to automate a compessor? I suppose there is a good reason, but I can't think of it at the moment.
Aaron
http://www.aaroncheney.com
 
I have not seen anyone ask what the source material is - drums? Guitar? Voice?

Now please educate me on this - correct use of compression is an area I am quite new to, I just recently aquired one after many years of going without. Wouldn't you want to use a hardware compressor on things like bass drum and loud vocals (with high threshhold and high compression, i.e. as a limiter)? If the input is overloaded, or is way too quiet, I don't see how a plug-in is going to fix that. I have assumed that compressor plug-ins are more for musically altering a track that was well recorded, while a hardware compressor is what you use to make sure your material is well recorded to begin with.
 
The source...?

Well, a little of everything.

The main thing I want the multiple tracks for would be drums as I would like to mic them to all four channels of my sound card. Other then that everything will only be one or two simultaneous channels for voice, guitar, possibly a bass amp or a direct line off of a sansamp. The microphones I currently have are 2 sm58s 1 57 and a D112. I definitely like the idea of being able to compress before it is recorded. I am new at this as well but that just makes since to me. I am open minded though and will definitely check out the plug-ins. What are the thoughts on some things needing to be compressed first?

$300 for Waves and $50 for Ultrafunk at least that decision was narrowed down a little.
 
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Well...

I would track everything in its most natural state, getting as much tone and volume on each channel as possible. Dont try to mix when tracking, make sure each track that is recording is hitting its maximum level. Mix after you track it, then decide what the song itself needs, if there is a vocal that needs compressing. Sometimes you can avoid the comp by manipulating at the sample level on your edit screen. Truth is, you want to avoid as much in-between stuff as you can. Just about everything adds artifacts/noise.
My favorite place for an outboard compressor would be a tube preamp/compressor with a great preamp for vocals and bass lines.
Get it as natural as possible 1st, just like your sitting in the same room with the band. Then manipulate AS NEEDED.
Paul
 
Once again....

I must agree w/ tube dude.
Get the signal to tape (or in this case, disk) as directly as possible. Every piece of gear you run the signal through on its way to tape will diminish it in some way. Now, if your dealing w/ very high-end gear in a big studio, that may be acceptable. But for most of us who are using low/ mid level gear, we should make an effort to bypass as much of it as possible. Then once it is on your disk and in the computer, leave it there. Everytime you bring it back out of the digital domain to process it in some way (i.e. outboard effects) , it has to run through D/A converters and once again you signal is being tarnished.
I understand your concern about controlling your levels during recording to control your peaks, but trust me, you are better off trying some other solution (i.e. back off the mic a little or change its position, lower the level, have the performer practice controlling their dynamics, whatever works) Once the signal is on tape, then use the software compressor to knock the peaks down and bring the overall level up.
Try this, as I did, and you will understand what I mean: borrow one of the compressors you are looking at. Put it in "bypass" mode and run your signal through it while recording. This way you will not hear any compression taking place, only the sound of the unit itself and what it does to your signal. Then disconnect the unit entirely and run your signal straight to tape. Then listen to the difference. I'll bet you will find that the direct signal is much clearer and "airier" and cleaner.
Now, after a lot of experimentation, I am religeous about going as directly to tape as possible. I use a Mackie 1202 VLZ preamp, and I will sometimes even bypass the mixer's EQ section by using the mute/out's just to keep my signal from running through one more sring of "cheap" components.
There's another $.02 worth, bringing my grand total to......$.04.
Aaron
http://www.aaroncheney.com
 
the tube is right

I totally agree with tubedude.

after tryng a variety of compressors (including the cakewalk fx one. I've found nothing so far as good as the effects in the Waves gold package.

I'ts worth the money.

By the way Aaron, just checked your website and listened to Downtown,

Did you use the Ultrfunk compressor there ?

pretty funky

wari
 
Thanks wariwari3.
Nope, that is not ultrafunk. All the stuff on the site was compressed using FX1. At the point at which I recorded those songs, that was all I had.
I guess I need to get some more current stuff on there. I need more hours in my day!
Aaron
http://www.aaroncheney.com

p.s. If you want another opinion on the Ultrafunk, I htink Recording Magazine March Issue has a review. It could be the Feb issue too, I'm not sure.
 
downtown sounds great .

pretty good work.

let me know if you have anything sdone with Ultrafunk.


would love to hear it.

wari
 
I'm convinced. I will definitely be trying the plug-ins. That is if I can get my system to stabilize and work for me.
 
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