Question about tracking with a LDC mic

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tubesandteles

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Is a compressor really necessary for tracking someone that sings really loud. I do alot of loud rock vocals that go from whisper quiet to screaming. How should I control my levels? Are pluggin compressors like the UAD-1 a really good thing and just track with low volume? Has anyone tried the new UAD-1 plugins in the Project Pak? Does anyone else have a problem with overloading the board you record into?
 
tubesandteles said:
Is a compressor really necessary for tracking someone that sings really loud. I do alot of loud rock vocals that go from whisper quiet to screaming. How should I control my levels? Are pluggin compressors like the UAD-1 a really good thing and just track with low volume? Has anyone tried the new UAD-1 plugins in the Project Pak? Does anyone else have a problem with overloading the board you record into?
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I wouldn't say an outboard compressor is "really necessary" for recording a very dynamic vocalist/track, but it sure can help a bunch. If you have a relatively quiet recording space, you can probably get away with using a plugin compressor. It is largely a matter of preference. I use both as the situation dictates.
 
It may or may not be necessary, can this singer work the mic? Many singers know to back off when belting out.

War
 
I use compression on every vocal I record, some more than others but I like the way it smooths out the voice
 
When you use say you use compression...

Do you mean that you use compression when going in to the interface? I mean, I definately use it when mixing. Either with plugs or outboard. You see I just got a Motu interface and I am trying to get used to it. It seems easy to overload. In the past I have used a pre with compression lightly on every single thing I tracked and that keeped things from overloading the old interface that I used to have. Now I have some better pres and I don't really have much as far as outboard compression that is any better than the waves and sonitus stuff that I have. What I am wondering basically, is do other people not have trouble with singers overloading the interface. I am recording in 24 bits and all. The Motu only records at 24 bit. I am using Cubase SX 2. The singers I have worked with and myself, know how to work the mic, but it is seems a bit like there must be a better way to track. Is this common to track without a compressor on a strong vocalist, or should I grab an RNC. Would that be a wise investment to throw in the chain. Would that help control the output of what comes from the outboard pre before it hits the interface. I don't want the compressor to mess up the good thing going with the sound of the mic and the pre. Sounds fabulous, I don't want to ruin the crispness, but I would like to smooth out the levels a bit before further processing in the box.
 
I recently acquired a Phoenix DRS 1 and have done a few recordings without compression on the way in, only because my compressors are in the shop. The clarity is phenominal but there are a couple spots I am having some trouble taming. Had I put a limiter in the chain on the way in, I wouldn't have to be riding the faders like a drunken cowboy (not that there's anything wrong with that) while trying to get a mix.
For me, engineering is easily the most difficult aspect to recording. It has the biggest learning curve with the fewest "set rules"
The more dynamics in a song, the harder it is to master, and the more interesting it is to listen to.
I'd rather spend time writing and recording which is why I look for the easiest and most repeatable way to get a successful final sound.
DOT will have some good advice on signal chain and trade offs, he has some insight that is valuable
 
An rnc is definitely a good investment, not only for this purpose. However, to answer your question, I use on for this very thing. For me, it makes a great "limiter" going into the DAW. It's fast and transparent, and with a low ratio and fast attack, it doesn't seem to affect the clarity at all. Definitely a must have unit IMHO.
 
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