Should I compress during a live recording take? This is the kind of compressor that you'll be happy you bought even later if you upgrade to something higher-end. Run your snare track through the compressor starting with the fastest attack possible. I just know that I need to add some silkyness to her voice. Such a setting brings your background vocals forward slightly. This can often sound more natural and less processed than Option 1. Compressing vocals during recording used to be standard practice with analogue recorders, and was important to avoid distortion being caused by unexpected peaks. You don't control the threshold on this one, just the input gain, ratio, attack, and release.
They are one and the same. You can decrease elements by compressing them and then not bringing the gain back up. Try using a fast attack time for more aggression. Very few compressors can handle this kind of abuse while still sounding natural. I can borrow a distressor off a mate. You mention that her voice has intense dynamics. Rich Costey's preference for a parallel processing setup with this compressor also suggests that the tonality of the Urei, especially when driven hard, was of more importance than its ability to catch transients.
In this case, we'll follow Michael Brauer's example and create enough for five different models running simultaneously. I have read how it can emulate classic units like the La-2A, which is probably what I should be using for the vox. You can also apply a true high pass filter or two modes of distortion as well. That depends on the ratio. Some engineers will use ratios as high as 5:1, 6:1, and 7:1. For rhythm tracks, you can use a higher ratio, ranging from 5:1 to 7:1.
You drive the input gain to achieve the gain reduction you're seeking. When used as a send, it brings out the punch and clarity of instruments without affecting the overall level of the stereo output. Start with the Threshold set high and then lower it until you hear and see the compressor acting on the sibilance. But what many of you may not know is exactly what a compressor does, how it does it, and how you control it in order to make it do it! You don't need them or want them here. Many budgets won't stretch to prestigious hardware, of course, and in that case you can search out lower-cost software that has been inspired by these devices see 'Which Classic Hardware Is My Plug-in Modelling? If the signal crosses above the threshold, compression is applied.
For some genres, though, you may only need to do one or the other. If you want subtlety, you should probably restrict the gain reduction to no more than about 4dB. The same rule especially applies for overall mix compression. Besides providing a wide range of control and a unique feature set, the Distressor offers a warm, vintage sound by using a custom designed gain control circuit. Compressors that use tubes for gain reduction variable Mu are most popular for overall mix compression and are mainly used in mastering. You can set it to be immediate in terms of milliseconds or hang on for several full seconds. You can unlink them and have two mono channels too.
It should be mentioned that you have your typical four choices for ratio settings like other leveling amplifiers. The left-most knob is your makeup gain at the output to keep your gain staging in check after compressing. I need to a find a good room pronto also. If so, you need to go about this the right way. I have a vague idea but want to get it right. Notice the lack of options. Split the output of the vocal track so that along with your normal main out, you are sending to the equalizer as well.
A fast attack 5ms will make your vocals sound thick and heavy. Your ears should guide you to letting you know what sounds good, and therefore what goes into mixing good music. If the threshold is down very low but certain words are still getting lost, turn up the ratio. I insert the Pro- C 2 on the instrument buss and using the vocal signal to trigger sidechain compression, subtly duck everything around the vocals. The harder you drive the signal, adding gain and more compression, the more obvious this coloration becomes. It's hard to keep up with, honestly.
This will cause compression to ease in as the signal approaches the threshold, making the transition from no compression to compression more subtle and less obtrusive. The attack and release have two choices: Fast or Slow. If the compressor is acting on some but not all of the sibilance, the frequency may not be set right or the bandwidth Q may be too narrow. The output of the equalizer will go into the sidechain key input of the compressor. But remember to use on a case-by-case basis. Seasoned studio jockeys can bring a wealth of past experience to bear on the task of choosing the right model of compressor for any task, but those without the benefit of such an apprenticeship can now find themselves adrift in a sea of complex possibilities, with little but guesswork and experimentation to assist them.
The benefit is that one license of a plugin supplies you with as many as you need. What Types of Hardware Compressors are Available? In 1986 we moved to a full product offering and 64-page catalog, which over the years has grown to 162 pages. The differences have to do with how you set up the threshold and ratio, mainly. In that truncation, you can be losing sound quality and low-level detail such as reverb tails. The reason not to is that once you apply compression before the signal hits the computer, you can't undo it. Gain reduction can be either 2dB to 3dB at the higher ratio, or 3dB to 6dB at 2:1, provided there is little or no reduction during passages sung at normal levels. You will get better results if you do.
If you want to use a compressor that pumps and breathes — that is, one that you can really hear working — or if you want to bring the vocals way up front in the mix, try using the following settings. This is great for any percussion-driven music such as rock or hip-hop. There is also the 500 Series that screws into a tiny rack called a lunchbox. You understand at this point that having a compressor is not an option and that it really boils down to purchasing the best one you can afford. When in doubt, simply ask yourself the question—can I hear every word? For instance, you have the option to change the knee from OverEasy to Hard Knee curves. In the days of tape, you had to compress on the way in, because the recorder's dynamic range wasn't wide enough to cope with raw vocal recordings, but that's not the case with modern digital systems. When the labels are abstract like this, you can't just resort to 5:1 or whatever shortcut you might decide works.