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Junior Varsity
Compressor novice... need starting point for rock vocals
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<blockquote data-quote="harrybrilljr" data-source="post: 48039" data-attributes="member: 103"><p>Re: Compressor novice... need starting point for rock vocals</p><p></p><p>Wow, I do almost the exact opposite of most of the other posters. 2:1 is nothing really. Stacking 2 comps 2:1 is a tiny bit more than nothing. I prefer more,.... infinity:1 or something high like 8:1, 10:1 VERY SOFT KNEE "Over Easy" Attack and release to auto on these should work otherwise a pretty fast attack (use your ears) and a slow release (use your ears). The way overeasy or soft knee compression works is that everything OVER the threshold would be at the value you set the knob to. As the threshold is approached, the compression ratio is higher and higher 1:1 then 1.x:1 then 2:1, etc, until finally that threshold is reached and we have infinity:1 (limiting). I rarely reach that point btw, but it depends Lower level dynamics are preserved. The really hot stuff is leveled out. The best (easiest) way to drive this is to take the vocal in to a channel (eq to taste) take a post fader direct out into the compressor, then the output of the comp into another channel and routed from there. You can manipulate the drive and return very easily with the faders during the show. One of the best compressors I personally ever used was the Drawmer 1969. There is no compression ratio on these, just attack release, a control for the drive level/ threshold control, and a gain control to make up the gain through the unit. <a href="http://www.mercenaryeditions.com/images/1969-BIG.jpg" target="_blank">http://www.mercenaryeditions.com/images/1969-BIG.jpg</a> The 1968 is the compressor only version. <a href="http://www.google.com/imgres?num=10&um=1&hl=en&safe=off&client=firefox-a&rls=org.mozilla:en-US:official&biw=1920&bih=980&tbm=isch&tbnid=8d9IV5gbOx8bjM:&imgrefurl=http://www.mercenaryeditions.com/drawmer1968.shtml&docid=DaiyAGoQO5TvLM&imgurl=http://www.mercenaryeditions.com/images/1968-BIG.jpg&w=1772&h=162&ei=DJc4T6TVGdTqtgfv2_zQAg&zoom=1&iact=hc&vpx=19&vpy=224&dur=755&hovh=54&hovw=600&tx=382&ty=37&sig=117491695709584569956&sqi=2&page=1&tbnh=18&tbnw=197&start=0&ndsp=17&ved=1t:429,r:0,s:0" target="_blank">Redirect Notice</a></p><p>They are very good TUBE comps right up there with Avalon and Summit, but I can get very close on a yamaha digi desk using the settings I described.</p><p></p><p>Attack and release are very important. Sometimes you want a bit of the front end to get through uncompressed. This is particularly important with drums, guitar, and bass IMO. If you hear pumping, the compressor is not set up properly (unless you wanted to hear pumping).</p><p></p><p>I modify this a bit for the talking head stuff but the ratios are still very high and the knee very soft.</p></blockquote><p></p>
[QUOTE="harrybrilljr, post: 48039, member: 103"] Re: Compressor novice... need starting point for rock vocals Wow, I do almost the exact opposite of most of the other posters. 2:1 is nothing really. Stacking 2 comps 2:1 is a tiny bit more than nothing. I prefer more,.... infinity:1 or something high like 8:1, 10:1 VERY SOFT KNEE "Over Easy" Attack and release to auto on these should work otherwise a pretty fast attack (use your ears) and a slow release (use your ears). The way overeasy or soft knee compression works is that everything OVER the threshold would be at the value you set the knob to. As the threshold is approached, the compression ratio is higher and higher 1:1 then 1.x:1 then 2:1, etc, until finally that threshold is reached and we have infinity:1 (limiting). I rarely reach that point btw, but it depends Lower level dynamics are preserved. The really hot stuff is leveled out. The best (easiest) way to drive this is to take the vocal in to a channel (eq to taste) take a post fader direct out into the compressor, then the output of the comp into another channel and routed from there. You can manipulate the drive and return very easily with the faders during the show. One of the best compressors I personally ever used was the Drawmer 1969. There is no compression ratio on these, just attack release, a control for the drive level/ threshold control, and a gain control to make up the gain through the unit. [url]http://www.mercenaryeditions.com/images/1969-BIG.jpg[/url] The 1968 is the compressor only version. [url=http://www.google.com/imgres?num=10&um=1&hl=en&safe=off&client=firefox-a&rls=org.mozilla:en-US:official&biw=1920&bih=980&tbm=isch&tbnid=8d9IV5gbOx8bjM:&imgrefurl=http://www.mercenaryeditions.com/drawmer1968.shtml&docid=DaiyAGoQO5TvLM&imgurl=http://www.mercenaryeditions.com/images/1968-BIG.jpg&w=1772&h=162&ei=DJc4T6TVGdTqtgfv2_zQAg&zoom=1&iact=hc&vpx=19&vpy=224&dur=755&hovh=54&hovw=600&tx=382&ty=37&sig=117491695709584569956&sqi=2&page=1&tbnh=18&tbnw=197&start=0&ndsp=17&ved=1t:429,r:0,s:0]Redirect Notice[/url] They are very good TUBE comps right up there with Avalon and Summit, but I can get very close on a yamaha digi desk using the settings I described. Attack and release are very important. Sometimes you want a bit of the front end to get through uncompressed. This is particularly important with drums, guitar, and bass IMO. If you hear pumping, the compressor is not set up properly (unless you wanted to hear pumping). I modify this a bit for the talking head stuff but the ratios are still very high and the knee very soft. [/QUOTE]
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