Reply to thread

Message

<blockquote data-quote="Declan Slater" data-source="post: 90482" data-attributes="member: 964">Re: Parallel Compression on X32Exact settings are tough to do, due to the different ways we all &quot;do our thing&quot;, as engineers; leading to quite a bit of &quot;your mileage may vary&quot;.As you know best, use your ears, this is another area where the artist plays in far more than the tech/geek does.I can add in that this is totally one of my vavorite &quot;tricks&quot;.&nbsp; I use it all the time to help vocals sound &quot;in your face&quot;, without getting crushed to death.&nbsp; I like to split each vocal seperately, and stick &#039;em next to each other so that they alternate comp/no comp on the console.&nbsp; If the layout allows, it works great to start the vocals on layer 2, then stick any additional instrumentation in after them in the remaining channels.&nbsp; You can just add a &quot;C&quot; or &quot;Nc&quot; after the name on the strip.&nbsp; If you run wedges, just run the &quot;Nc&quot; channels into them to keep it simpler.&nbsp; You can also feed your vocal FX with the &quot;Nc&quot; channels only to help the fix take on more dynamics and &quot;get out of the way&quot; quicker/better.&nbsp; I find you can also use a careful bit of EQ on problem tones on the &quot;Nc&quot; channels, with careful and not too crazy EQ carving on those harsh bits.&nbsp; You just have to remember to treat these channels as a &quot;sum&quot;, and not get too radical with the tone stuff or you&#039;ll shoot yourself in the foot.&nbsp; A different bit of high pass works well also, much higher for the &quot;C&quot; channels, and a little lower frq for the &quot;Nc&quot;.&nbsp; Sometimes you need that little bit of comp on the &quot;Nc&quot; channel for cats who have a hard time with too loud and too soft - not fitting in the mix.&nbsp; Yes, it eats channels, but it&#039;s SO worth it...</blockquote>

[QUOTE="Declan Slater, post: 90482, member: 964"] Re: Parallel Compression on X32 Exact settings are tough to do, due to the different ways we all "do our thing", as engineers; leading to quite a bit of "your mileage may vary". As you know best, use your ears, this is another area where the artist plays in far more than the tech/geek does. I can add in that this is totally one of my vavorite "tricks". I use it all the time to help vocals sound "in your face", without getting crushed to death. I like to split each vocal seperately, and stick 'em next to each other so that they alternate comp/no comp on the console. If the layout allows, it works great to start the vocals on layer 2, then stick any additional instrumentation in after them in the remaining channels. You can just add a "C" or "Nc" after the name on the strip. If you run wedges, just run the "Nc" channels into them to keep it simpler. You can also feed your vocal FX with the "Nc" channels only to help the fix take on more dynamics and "get out of the way" quicker/better. I find you can also use a careful bit of EQ on problem tones on the "Nc" channels, with careful and not too crazy EQ carving on those harsh bits. You just have to remember to treat these channels as a "sum", and not get too radical with the tone stuff or you'll shoot yourself in the foot. A different bit of high pass works well also, much higher for the "C" channels, and a little lower frq for the "Nc". Sometimes you need that little bit of comp on the "Nc" channel for cats who have a hard time with too loud and too soft - not fitting in the mix. Yes, it eats channels, but it's SO worth it... [/QUOTE]

Verification