Pre compression and compression settings

  • Thread starter Thread starter y-kause
  • Start date Start date
This thread was started with this:

y-kause said:
I usually use the same compressor after the vocals anyway

also what is a good compression setting for vocals?

I use 4:1 or 5:1
5 attack 50 release
thresh -10
no gain
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He then went on to say

y-kause said:
and yea i think i'll have to get a rackmount i feel i get decent mixes without one im mastering some trax now n to me perfect
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Then we had

Bare graves said:
i like to always compress on the way in definitely on drums as well just so there is no clipping and therefore i can have a louder recording.
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My responses about the wisedom of compressing on the way in were directed at these guys.

Chibi Nappa - Do you honestly think a guy asking what compressor settings sound good for 'a vocal' has a distressor kicking around? Do you think he has the skill and experience to tune a compressor quickly enough and well enough to track with?

Bristol Posse - MAYBE you can get an FMR RNC for under $100 but that is $100 for 2 channels. You probably will pay more than $100 for a compressor plugin but you can have as many channels as your computer will run. We have a guy asking about what setting to use for a vocal and a guy who records his drums through a compressor to get a 'louder recording'. Do you really think spending money on budget outboard gear will serve them best?

And by the way, since every singer is different I find myself auditioning various mics and pres with different singers. Wherever that gets me will determine which compressor and settings I'll reach for, and yes they will react differently to different voices, mics, etc.

My advice was serving the thread - not attempting to show off how much I think I know. The thread was started by someone who obviously doesn't understand how compressors work and rather than take snide potshots at him about not being ready to record etc, I gave some useful advice.

You guys are determined to take the thread into a general discussion on compression technique. How helpful do you honestly think your advice was to the OP?
 
G-Jay said:
This thread was started with this:




Chibi Nappa - Do you honestly think a guy asking what compressor settings sound good for 'a vocal' has a distressor kicking around?

You guys are determined to take the thread into a general discussion on compression technique. How helpful do you honestly think your advice was to the OP?
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In that context, I retract what I said. No, he should not be compressing on the way in. By that token he shouldn't be compressing in the final mix either.


When you don't know the first thing about compressors, leave 'em alone.

When you are coming to grips with them, give 'em a shot in a mix.

When you know them, knock yourself out and compress on the way in if that's your thing.
 
AMcB said:
I personally like to use a comp when I do my vocals, to give me more confidence. That way, when I get loud in real life, I don't get as loud in my headphones, so I don't get weak and shy and scared people can gear me. But that's just me. I know there's mic control, but then I'd still know I was louder. It's just a mental thing.
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Do you mean compressing before tape/DAW or after? If you mean before, there's no need to do it for the reasons you mentioned. You can just compress after the recording, before the headphones using a plugin. That way you can sing louder, and not be at risk of overcompressing the recording.

And in reference to "mic control", do you mean moving further back from the mic? That seems like a bad idea IMO. When you move back from the mic, you not only change the volume of the signal, you change the tonal characteristics of the voice and the ratio of direct sound versus reflected sound. These are all things that, if you wanted to change, you could play around with afterwards during mixdown, when it's nice to have as much control as possible.
 
Chibi Nappa said:
In that context, I retract what I said. No, he should not be compressing on the way in. By that token he shouldn't be compressing in the final mix either.
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Or he could record clean and experiment and learn about compression during his mixes.
 
G-Jay said:
You guys are determined to take the thread into a general discussion on compression technique. How helpful do you honestly think your advice was to the OP?
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What does it matter where this thread goes?The OP posted a question and he got some decent advice.He tried a suggested setting and liked it.Even said thanks.Others chipped in and offered some Pros and cons.I don't think anyone is assuming the OP knows nothing about compression.It's a discussion forum afterall.

If the OP feels his question was answered he can stop reading the thread anytime he wishes.If you feel the thread is turning into a general discussion on compression technique and don't like where the thread is going stop reading it.Personally i like to hear what other folks have to say.
 
philbagg said:
Do you mean compressing before tape/DAW or after? If you mean before, there's no need to do it for the reasons you mentioned. You can just compress after the recording, before the headphones using a plugin. That way you can sing louder, and not be at risk of overcompressing the recording.

And in reference to "mic control", do you mean moving further back from the mic? That seems like a bad idea IMO. When you move back from the mic, you not only change the volume of the signal, you change the tonal characteristics of the voice and the ratio of direct sound versus reflected sound. These are all things that, if you wanted to change, you could play around with afterwards during mixdown, when it's nice to have as much control as possible.
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In the world of pro tools le, there is too much delay. But I completely agree with you. I'm thinking about just running the same signal, one through a comp, to sing to. And one raw with no comp, to actually use in the mix. I'm just using either the comp on my art pro channel, or trackmaster pro. So I'd rather use my rtas ones anyway. Plus I've spent way too much on plugins.

And that is actually another reason I'd say no to "mic control"
 
G-Jay said:
Bristol Posse - MAYBE you can get an FMR RNC for under $100 but that is $100 for 2 channels. You probably will pay more than $100 for a compressor plugin but you can have as many channels as your computer will run. We have a guy asking about what setting to use for a vocal and a guy who records his drums through a compressor to get a 'louder recording'. Do you really think spending money on budget outboard gear will serve them best?
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G-Jay said:
You guys are determined to take the thread into a general discussion on compression technique. How helpful do you honestly think your advice was to the OP?
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Given the title of the thread suggesting the guy wants to compress pre recording and the other guy is talking outbout outboard compression on the way in, on a home recording forum then yes, talking about techniques to compress on the way in using budget equipment, or functionality of the DAW to somewhat mirror outboard equipment during tracking with a software compressor seems fairly relevant to my, admittedly feeble, mind

Sorry my post seems to have so thoroughly offended you, I meant no slight on you personally.
 
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Yeah, no worries there. It's the nature of these forums that the subject gets to expand and/or go other places.

BTW, a counter to 'work the mic vs don't work the mic..
On one hand there is good consistent tone', a stable track.
But then there is working the mic for the specific intention that it does alter both tone and volume-for good reason. There's a time for both, and I'd bet the factor weighing in as to whether or not (experience?) is much like that of whether to compress on the way in.
 
AMcB said:
In the world of pro tools le, there is too much delay. But I completely agree with you. I'm thinking about just running the same signal, one through a comp, to sing to. And one raw with no comp, to actually use in the mix. I'm just using either the comp on my art pro channel, or trackmaster pro. So I'd rather use my rtas ones anyway. Plus I've spent way too much on plugins.

And that is actually another reason I'd say no to "mic control"
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By having the singer sing into a compressor you are encouraging poor technique. The singer should be hearing his voice's dynamics with no alteration so, consciously or not, he compensates. Most likely your track will end up with more dynamics problems you will have to deal with down the line.
 
im really new and i use a drawmer and joe meek compressors on drums on the way in way in so there is no clipping from loud peaks. am i wrong to do this then? because my first qoute seem to get some negative feedback
 
Bare graves said:
im really new and i use a drawmer and joe meek compressors on drums on the way in way in so there is no clipping from loud peaks. am i wrong to do this then? because my first qoute seem to get some negative feedback
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Well, whether it's "wrong" or not is a matter of opinion. But your reason for doing it makes me wonder. If you're worried about clipping on louder peaks, then why not just record lower? You shouldn't be peaking anywhere near clipping level when you track.
 
Bare graves said:
im really new and i use a drawmer and joe meek compressors on drums on the way in way in so there is no clipping from loud peaks. am i wrong to do this then? because my first qoute seem to get some negative feedback
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To follow Rami but from a different angle, I would simply stress that when 'leveling is being applied keeping in mind the distinctions between protection', and doing it for the purpose of enhancement of the sound. These can overlap, but I feel very often they imply different setups, and do not.
'Slow moving sources (vocals, bass, guitars) presumably the two could overlap more easily- a reasonably fast comp can catch most of the front end of what these can throw and still be applicable in setup for the goal of 'wanted processing. But how about percussion? Sounds like a job for the 'PeakStop located after the compressor section. :D

Anywho, part of my take on this is decidedly colored in that my approach is inverted from that-
caution regarding tossing transient, on the way in quite low ratios, and erring on the side of slower attack.
 
I didn't know it would be all of this lol i never said i was a mastering engineer


i posted the topic to see what people had in mind that they used and worked
 
ratio:2.79
thresh:-9.2
gain:5.6
attack:2.83
release:304
Here is my rap vocals compression
 
Lucion said:
ratio:2.79
thresh:-9.2
gain:5.6
attack:2.83
release:304
Here is my rap vocals compression
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And what if your highest signal peak is -10dbs?

Presets can work great on things like reverbs, chorus effects, and synths but there is no way you can reliably use presets with a compressor (or an EQ) because it entirely depends on the original signal.

Compression can seem hard to understand but that's because talking about it is far more complicated than just using it.

IMO this article really explains compression well.

http://www.soundonsound.com/sos/sep09/articles/compressionmadeeasy.htm
 
Lucion said:
ratio:2.79
thresh:-9.2
gain:5.6
attack:2.83
release:304
Here is my rap vocals compression
Click to expand...

would these settings work on Lute, my homeboy Silkface, play some mean lute, and I just holla at my girl reemj0b fo tha realz:cool:
 
G-Jay said:
And what if your highest signal peak is -10dbs?

Presets can work great on things like reverbs, chorus effects, and synths but there is no way you can reliably use presets with a compressor (or an EQ) because it entirely depends on the original signal.

Compression can seem hard to understand but that's because talking about it is far more complicated than just using it.

IMO this article really explains compression well.

http://www.soundonsound.com/sos/sep09/articles/compressionmadeeasy.htm
Click to expand...

THANK YOU! This is correct. A preset on a compressor is as useless as tits on a boar hog. Can't believe it took this long to get this response... wow
 
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