EQ or compression?

[ColdAsh]

As a rule or thubm, which is more important during the recording stage, EQ or compression?(assuming that both can also be added later during mixing) The main reason i ask this is to hel slect a preamp/channel strip.

 

[chessrock]

Are you recording at 24 bit already?

If so, then I would say eq might be more important.

If not, then I'd probably go with the compression. Reason being is that compressing the signal will allow you to record hotter without clipping. Thus, you'd be able to record a lot more of your actual signal at a higher resolution (You'd be using a lot more of the 16 bits available for reproducing your signal).

 

[heylow]

I want to pick "hookers" but you FAILED to put the most important thing in the poll.

Well....that said, I think for the most part, no EQ is good eq in the tracking department. I dont mean it's never good, I just mean it's not usually ideal. There is no better eq than careful mic placement, IMHO. If you want more of anything, you should reposition the mic or get more of what you want from the source. (IE turn up the treble on a the guitar amp not on the board) Any EQ that HAS to be done in tracking should be ever so slight unless there is a damn good reason and probably shouldnt happen often.

Compression is an altogether different animal. It's VERY useful many times for different things but should never be used for the sake of it. A little taming of kick, snare vox and bass can be very helpful if not overdone.

So if I had to pick one or the other to have in tracking along with the pre, I'd want compression.

Hope this helps....which strips are you looking at? I have a HHB Radius 40 that has everything...I like it a lot actually but only have used the EQ twice (and that was when I was being lazy )



heylow

 

[VotaIdiota]

in the recording stage?

I'd have to go with LIMITING, which I think is far more effective when you're recording digitally than compressing......

 

[heylow]

in the recording stage?

I'd have to go with LIMITING, which I think is far more effective when you're recording digitally than compressing......

AH-HA! Wrong again! The answer is HOOKERS! You people are amateurs.....WAIT!!! I like "amateurs" too! What films have you been in?




heylow

 

[Blue Bear Sound]

d) None of the above

I'd say neither are terribly important in the recording stage....... if you've done you job right with mic selection and placement.............

 

[VotaIdiota]

AH-HA! Wrong again! The answer is HOOKERS! You people are amateurs.....WAIT!!! I like "amateurs" too! What films have you been in?




heylow

....................................................
speechless, heylow........... speechless.

 

[Downside Studio]

in the recording stage?

I'd have to go with LIMITING, which I think is far more effective when you're recording digitally than compressing......

Now that would give an interesting signal on tape. I have recorded on digital recorders (Tascam) for over 6 years now, and never ever ever had to use limiting in the recording stage.....aaaagggghhhhh....just think of it....you are happily playing the recording back for mixing, and the lead vocal hits the limiter every 20 seconds. Just make sure you have the input said ok. An occasionall snare or tom slightly hitting the red ain't gonna ruin your recording. Believe me, I can show you lots of tapes hitting the red withouth audible notice.

Getting signals hot on tape is important, but when you are recording on digital the average meter reading should be around -12dB. that is the equal of 0dB metering on an analogue console. Remember there is a difference between digital and analogue metering the headroom.
0dB on a digital meter could be +22dB on an analogue meter.

So basicle limiting is the very last thing I would use when recording.

 

[octoruss]

I never EQ when recording. Unlike compresison which is somewhat fixed for things like bass or vocals, EQ is much more delicate and dependent on other elements of the mix. If you add EQ to the recording, you wouldn't have as much flexibility to change it in the mix later on. And this of course, is imperative since you'll want each track in its own space.

 

[Downside Studio]

Now that would give an interesting signal on tape. I have recorded on digital recorders (Tascam) for over 6 years now, and never ever ever had to use limiting in the recording stage.....aaaagggghhhhh....just think of it....you are happily playing the recording back for mixing, and the lead vocal hits the limiter every 20 seconds. Just make sure you have the input said ok. An occasionall snare or tom slightly hitting the red ain't gonna ruin your recording. Believe me, I can show you lots of tapes hitting the red withouth audible notice.

Getting signals hot on tape is important, but when you are recording on digital the average meter reading should be around -12dB. that is the equal of 0dB metering on an analogue console. Remember there is a difference between digital and analogue metering the headroom.
0dB on a digital meter could be +22dB on an analogue meter.

So basicle limiting is the very last thing I would use when recording.

Could everybody please ignore all the spelling mistakes I made in this post. Damn, I should be more patient. I myself didn't even get most of that post .

 

[littledog]

Re: d) None of the above

I'd say neither are terribly important in the recording stage....... if you've done you job right with mic selection and placement.............

I would agree with Bear if we are talking about low end compressors.

On the other hand, Bear, wouldn't you agree that a high quality compressor inserted in the recording stage can provide a timbral coloring and a heightened immediacy that actually can HELP get a better performance out of the musician or vocalist? In this case isn't the compressor adding something that cannot be duplicated by microphone choice or placement?

At least this has been my experience. The key here is moderation, of course, while tracking. The heavy shit can be added in the mix.

As far as Downside vs. Vota, unless you're talking about something like the L-2, limiting and compression is usually just a matter of differing threshhold and ratio settings, isn't it? Seems almost like arguing semantics to say compression is good, limiting bad, or visa versa?

 

[Downside Studio]

Re: Re: d) None of the above

On the other hand, Bear, wouldn't you agree that a high quality compressor inserted in the recording stage can provide a timbral coloring and a heightened immediacy that actually can HELP get a better performance out of the musician or vocalist? In this case isn't the compressor adding something that cannot be duplicated by microphone choice or placement?

Compression in this matter can also on the monitoring signal. Way safer than than on the recorded signal before going to tape.

As far as Downside vs. Vota, unless you're talking about something like the L-2, limiting and compression is usually just a matter of differing threshhold and ratio settings, isn't it? Seems almost like arguing semantics to say compression is good, limiting bad, or visa versa?

No I say compression is also bad. Limiting in worse.

 

[littledog]

Re: Re: Re: d) None of the above

Compression in this matter can also on the monitoring signal. Way safer than than on the recorded signal before going to tape.

Ah! Fear of committment! It all becomes clear...

 

[TexRoadkill]

I'll second hookers. A blowjob during tracking is much more beneficial than compression or EQ.

 

[VotaIdiota]

downside.....

maybe I should have explained myself a bit more....
compression during tracking never really was a big thing for me (the occasional joemeek track notwithstanding)..... a peak on a compressor is still going to clip the input, as the compressor hasn't attacked it yet..... I don't use limiting to crank the input gain so the signal is a steady rectangle..... rather, I use limiting simply as a safety net, to catch those dozen or so errant peaks... true, I track digitally at 24 bit at around -10 to -8 db, but the limiter is there JUST IN CASE...... that's all.
I'm sorry if you construed my post as saying "limiting so I can blast the hell out of the preamp".

 

[Downside Studio]

I understand completely but one of the main question regarding this thread is: which is more important during the recording stage, compression or eq? You kind of implied limiting.

I'm just trying to prevent a newbie from rushing out and putting a limiter in the path of the signal being recorded.

 

[chessrock]

I use limiting simply as a safety net, to catch those dozen or so errant peaks...

In this case, what would be wrong if some newbie did run out and get a limiter for this purpose? I'd say it would be . . . oh, how about A REALLY GOOD IDEA. (?)

I suppose you like the sound of digital clipping then, eh, Downside?

What's your beef with limiters, anyway, Downside? Huh? What did they ever do to you? Are we going to have to take this outside? You wanna' piece of that limiter? I'll give you a piece o' that there limiter, pal.

 

[heylow]

Re: d) None of the above

I'd say neither are terribly important in the recording stage....... if you've done you job right with mic selection and placement.............

My beef with this quote is that what if I DID do my job right with placement and selection but the bass player I'm recording isn't doing HIS job with controling dynamics or the singer likes do that Korn type whisper and scream thing? Then what? You'd probably want a compressor, wouldn't you? Just to tame it up a bit?

Of course it's nowhere near as important as hookers but this technique has it's merits. And, as always, better to use a cheap hooker than a cheap compressor.


heylow

 

[VotaIdiota]

I understand completely but one of the main question regarding this thread is: which is more important during the recording stage, compression or eq? You kind of implied limiting.

I'm just trying to prevent a newbie from rushing out and putting a limiter in the path of the signal being recorded.

oh sure, now I'M the bad cop......

 

[VotaIdiota]

Re: Re: d) None of the above

My beef with this quote is that what if I DID do my job right with placement and selection but the bass player I'm recording isn't doing HIS job with controling dynamics or the singer likes do that Korn type whisper and scream thing? Then what? You'd probably want a compressor, wouldn't you? Just to tame it up a bit?

Of course it's nowhere near as important as hookers but this technique has it's merits. And, as always, better to use a cheap hooker than a cheap compressor.


heylow

do you guys listen to much "emo"?

man, talk about compression being essential.....