Quote:
Originally Posted by Drumsound  I have done a vocal parallel, and I have chosen insert comps instead of parallel. The group thing is where I start. Sometimes the comp return is quite low in the mix, but it's adding a tonal presence that I don't get other ways.
It's a bit of a game with gain staging, and I will admit I tend to hit things hard. I guess I've listened to too much RTB stuff over the years. I like how things sound when they're really workin'!
I'll do a lot of experimenting with how hard the comps are hit, how much return, the send levels, and what goes to each comp. Maybe the snare and toms but not the BD, OH or room. Sometimes just the bass DI, but not the mic. Maybe the acoustic guitars, but not electric. Sometimes the comp alone sounds better and the direct signals come out of the stereo bus.
Am I making sense or rambling here? |
No, it makes sense.
It's a little different than how I interpreted it.
I though you were putting all the drums to a stere compressor, blending that in, then the same with the bass and the same with a guitar group as a matter of course rather than selective.
I also always imagin one particular engineer who limited everything in parallel and he simply wasn't doing what he though he was and he had no way to A/B.
The snare sound wetn "uop" instead of "pop". All he heard was the excitment of a quick release time and didn't really hear what he was doing over all.
The net effect of what he was doing was blending in the uncompressed signal to fix his bad buss compression and he did it across the board.