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Compressing going in.
Old 19th February 2009 | Show parent
  #31
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Doc Mixwell's Avatar
 
1 Review written
🎧 10 years
Quote:
Originally Posted by skiroy ➡️
I can parralell compress in the Daw,so your saying dont need to compress going in but if you were going to mabye the kick and snare?Never overheads?

If you were going to comp the kick would it just be the beater and not the Sub kick?

Lastly is it not a good idea to use different pres on the drum?I want to have 2 Api 512c,2 NR 500nv,1 summit, and 1 Pacifica for a variety of pres. But that would mean using multiple pres on the drum mics. Is this a bad idea?Should the pre be consistent throughout the kit?
There are no rules. Do what works for you, and don't over think the applications.

I move the microphone, and NEVER compress something JUST TO COMPRESS. Thats poor engineering. I use all kinds of different preamplifiers and processors if I need to. Use what works, end of story.
Old 19th February 2009 | Show parent
  #32
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Jorg's Avatar
 
🎧 15 years
Quote:
Originally Posted by Raincrow ➡️
How urgent is it to compress a vocal going in? and how many db of compression do you guys look for?
I wouldnt say its urgent however in my opinion HW compression sounds better than any plugin. If you have access to HW compression when tracking but not when mixing then I'd compress on the way in.

Most of the vocals I record are the sort of female ballady type. I record mostly through the UA-LA 610 SE. That pre doesnt have a compressor input, so if I wanted to compress after recording I'd have to go through the pre again and thats just too much colour.
Therefore I compress on the way in. It took me a few goes to get it right. Not having compressed enough on the way in is never really a problem. I never found it bad sounding to compress some more with a plugin afterwards.
Compressing too much on the way in is a nightmare tho because you cant reverse it. You're stuck with that sound.

I tend to set the compressor so that I dont really hear it working and then still take it back a little. Good thing is on the 610 this can be sometimes up to 6 or 8 dB of compression (depending on the style of vocal).
Old 9th March 2009 | Show parent
  #33
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🎧 10 years
Bump.
this post kinda turned into a compress or not discussion...

are there any advantage to compress on the way in compared to compress after?????
Old 9th March 2009 | Show parent
  #34
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bgrotto's Avatar
Quote:
Originally Posted by Simon FP ➡️
Bump.
this post kinda turned into a compress or not discussion...

are there any advantage to compress on the way in compared to compress after?????
I might be crazy, but I've always heard a difference when compressing during tracking digitally versus compressing during mixing.

When dealing with tracking to tape, there is a HUGE difference, for obvious reasons.
Old 9th March 2009 | Show parent
  #35
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🎧 15 years
Quote:
Originally Posted by Simon FP ➡️
Bump.
this post kinda turned into a compress or not discussion...

are there any advantage to compress on the way in compared to compress after?????
Letting the performer hear and work with the compression. If they wanna.
Old 9th March 2009 | Show parent
  #36
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Cameron Johnson's Avatar
 
🎧 10 years
I don't usually compress while tracking... I usually like to leave that to the mix stage. However, sometimes, it's just what the doctor ordered (tricky vox part, etc...).

Cheers,
Cam
Old 9th March 2009 | Show parent
  #37
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🎧 15 years
Quote:
Originally Posted by Peacock ➡️
I never track with compression.
Same here, If I want to compress at all, I post compress with hardware mainly vocals, the rest gets the glue in the final 2 buss.
Old 9th March 2009 | Show parent
  #38
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🎧 15 years
Quote:
Originally Posted by Simon FP ➡️
Bump.
this post kinda turned into a compress or not discussion...

are there any advantage to compress on the way in compared to compress after?????
One main advantage to pre compressing while tracking is avoiding digital overs by controlling the dynamic range.

The other advantage is at mixdown....If you only have a couple "great" outboard compressors, if you use those compressors on the inbound for the tracks that "need it" (like vocals or bass), you still have those great compressors availible for the tracks that didn't get pre compressesed at mixdown.

Can it come back to bite you if you pre compressed too much??? Sure it will....but that is all part of experience and learning your gear, and the tendencies of musicians to perform takes at a higher output level than what they give you during sound checks.
Getting the musicians to hit the drum, or scream the vocal as loud as they will in soundcheck as during the tracking, is the most important thing to learn when setting any level...especially pre compression.
After you get comforatble with that kind of dialog with the musicains behind the glass, (Hit that [email protected] thing! Ha Ha) you lose the fear of pre compression
Old 9th March 2009 | Show parent
  #39
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🎧 15 years
I compress every drum on the way in at 4:1 lightly. Except overheads I track straight. I compress vocals more. Bass I try to give the guy his final sound including the compression. They play better when they sound good. And yes I compress even electric guitars on the way in. I think it depends alot on what your compressors sound like. And your signal chain. The compressors I used to have I didn't track with. But I did use them on the headphone mix. Then rented some for mixdown.

But that is just me and I know my equipment well. I wouldn't recommend it globally. But if not doing a paying job you should experiment experiment experiment!

This is a good thread... Years ago I wrestled with myself over tracking with compression. And always found myself adding certain amounts on different instruments during mixdown. Bussing out to a compressor during mixdown doesn't sound quite as good so I burn it from the get go now. After you are used to how much you always apply it is a no brainer after a while.

And Yetti makes some great points. I have had drummers and singers increase volume dramatically after alot of tracking. They usually get ALOT louder after a couple hours or a couple beers. They may sound better too. And telling them to stop in the middle of a recording because I am approaching digital zero and need to change a pad or reduce preamp volume just doesn't cut it for the spontaneous thing. Especially on drums where there are several preamps to consider. So I leave a big buffer.


John
Old 9th March 2009 | Show parent
  #40
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heyman's Avatar
 
1 Review written
🎧 15 years
I just worked with a singer this weekend who was so dynamic I had to compress the **** out of him on the way in. His screams were insane..


I used a SM7 mic into a pre, then a Fatso with both the Buss and GP Compressors engaged and it was hitting 15 + db compression in some parts..

I had to.. and it was still dynamic..

There is no doubt I will have to use more compression during mixdown as well.

There are no rules to compression.

Use your ears..
Old 11th March 2009 | Show parent
  #41
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🎧 15 years
Quote:
Originally Posted by Simon FP ➡️
Bump.
this post kinda turned into a compress or not discussion...

are there any advantage to compress on the way in compared to compress after?????
It kind of depends on how you work and what you're able to hear.

There are times where neither compression nor fader moves are the right solution. The performance needs to be different. There is no way to know that until it's too late unless you're tracking with compression.

The question is can you hear that and can you hear when you're compressing wrong on the way in?

The advantage is, if you have a sound/preformance that needs compression and you compress it right on the way in, you're further ahead.

It's less outboard to patch later. It's fewer plugins to run during mixdown. The artist feels better as they work because they tracks are more finished sounding. Mixing is faster when you can worry about mixing as opposed to getting basic sounds becuase they weren't created in the first place.
Old 11th March 2009 | Show parent
  #42
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Quote:
Originally Posted by stagefright13 ➡️
I compress every drum on the way in at 4:1 lightly. Except overheads I track straight. I compress vocals more. Bass I try to give the guy his final sound including the compression. They play better when they sound good.
Be sure to ask the players what they prefer. I hate it when they compress my bass while playing. How can I control my dynamics if I can't hear them?
What happens at the other side of the glass or at FOH I don't care about.




Herwig
Old 11th March 2009 | Show parent
  #43
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🎧 15 years
Quote:
Be sure to ask the players what they prefer. I hate it when they compress my bass while playing. How can I control my dynamics if I can't hear them?
What happens at the other side of the glass or at FOH I don't care about.
I would not compress an upright, by any means.

Electric bass, on the other hand, is a different story, at least in a rock context. How often do you hear (or want to hear) a dynamic rock bass?
Old 12th March 2009 | Show parent
  #44
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🎧 15 years
I don't know about that - it depends on the room and the bass. I've had people bring in some nice sounding basses except for a few majorly resonant notes. Defintiely a good use for multiband compression.
Old 12th March 2009 | Show parent
  #45
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Unclenny's Avatar
 
🎧 10 years
Quote:
Originally Posted by Simon FP ➡️
are there any advantage to compress on the way in compared to compress after?????
Hey......I'm just doing my own stuff. And I stay ITB once I finish tracking.

I pretty much know where I need compression these days so I prefer to get things close with hardware on the way in rather than relying on plugs.
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