Vocals: LA2A -> 1176 or 1176-> LA2A

[Sunshy]

I've read threads where people will use these in conjunction to get a super squeezed vocal track. I was thinking of going through the 1176 FIRST to tone down the peaks and then through the LA2A to even everything out.

I've read threads where people run the signal through the LA2A first and THEN the 1176. This doesn't make a whole lot of sense to me as the the LA2A's attack is so sloppy. What is the reasoning for doing this? Is it six of one, half dozen the other?

[beggehorn]

Though I don't have either of those "names" in my rack, I've found a Distressor (1176-ish, quick attack/release, 5-10 dB reduction) followed by my ADL (LA2A-ish opto, just a couple dB) works for me and makes more sense for the same reason you described.

[zimv20]

Originally posted by Sunshy
I was thinking of going through the 1176 FIRST to tone down the peaks and then through the LA2A to even everything out.

what happened when you tried it?

[Wiggy Neve Slut]

Compressors in series works a treat, once you get the hang of it. Just set the first one with the higest ratio and each successive compressor with a ratio lower than the previous one. adjust attack/release and threshhold to taste.

Wiggy

[Sunshy]

I'm really behind on mixing a project this week. But next weel will try borh methods and post what I find. Thanks for the input guys.

[crypticglobe]

It really depends on what you are going for. The common trick with those 2 for pop vocals is:

LA-2A first. Set the meter to Gain Reduction, and it should be in "limit" mode. Adjust so the meter is just moving a little... not much. Then, into the 1176. Start with the knobs straight up. Adjust attack to slowest, and release to fastest. Use a ratio of either 4 or 8. Again, adjust so that you are just getting a little bit of needle movement.

You will find this to be VERY smooth.

I do a lot of rock... and I actually find that I like this combination.... but.... I get the needle going more on the LA-2A, and make the attack quicker on the 1176, and again... more compression (needle movement).

Recently, I have been using the UAD-1 freaking Fairchild 670 compressor Plug-In in Nuendo... GEEZ!!!! It's sounds really amazing for squashing a rock vocal vintage style. It sounds amazingly like the real deal. Not quite the distressor... but very close!

[jbuntz]

Originally posted by crypticglobe
It really depends on what you are going for. The common trick with those 2 for pop vocals is:

LA-2A first. Set the meter to Gain Reduction, and it should be in "limit" mode. Adjust so the meter is just moving a little... not much. Then, into the 1176. Start with the knobs straight up. Adjust attack to slowest, and release to fastest. Use a ratio of either 4 or 8. Again, adjust so that you are just getting a little bit of needle movement.

You will find this to be VERY smooth.

I do a lot of rock... and I actually find that I like this combination.... but.... I get the needle going more on the LA-2A, and make the attack quicker on the 1176, and again... more compression (needle movement).

Recently, I have been using the UAD-1 freaking Fairchild 670 compressor Plug-In in Nuendo... GEEZ!!!! It's sounds really amazing for squashing a rock vocal vintage style. It sounds amazingly like the real deal. Not quite the distressor... but very close!

I've been using the UAD-1 Fairchild too. You can really slam vocals and they dont have all the high frequency loss you would expect from 20 db of GR from the UAD-1 1176 or LA2A. In fact they seem to get brighter.

I think I remember TLA saying that he slams an LA3A and grabs the slow attack overshoots with something fast like an SSL comp after the opto. I imagine either way will work fine.

[theBackwardsman]

Originally Posted by crypticglobe

It really depends on what you are going for. The common trick with those 2 for pop vocals is:

LA-2A first. Set the meter to Gain Reduction, and it should be in "limit" mode. Adjust so the meter is just moving a little... not much. Then, into the 1176. Start with the knobs straight up. Adjust attack to slowest, and release to fastest. Use a ratio of either 4 or 8. Again, adjust so that you are just getting a little bit of needle movement.

You will find this to be VERY smooth.

I do a lot of rock... and I actually find that I like this combination.... but.... I get the needle going more on the LA-2A, and make the attack quicker on the 1176, and again... more compression (needle movement).

Recently, I have been using the UAD-1 freaking Fairchild 670 compressor Plug-In in Nuendo... GEEZ!!!! It's sounds really amazing for squashing a rock vocal vintage style. It sounds amazingly like the real deal. Not quite the distressor... but very close!

HmM I recently tried this one & it sounds kida wierd and PUMPY.
probably because of the slow attack on the 1176, but still, It gets kinda smooth so could it be That ive done something wrong. Im really interested in different ways to combine these two monsters.

[blackcatdigi]

Originally Posted by crypticglobe

LA-2A first. Set the meter to Gain Reduction, and it should be in "limit" mode. Adjust so the meter is just moving a little... not much. Then, into the 1176. Start with the knobs straight up. Adjust attack to slowest, and release to fastest. Use a ratio of either 4 or 8. Again, adjust so that you are just getting a little bit of needle movement.

Interesting. I've never liked the results of this order, but definitely a mileage may vary scenario.

Personally, I always prefer 1176 first at 4/8:1, med. fast attack/release into the LA2A on comp. Knocking a couple of dBs off on each unit. Sounds fairly natural but also somewhat 'finished' for lack of a better term and tends to sit really well in the mix.

Whatever works for ya!

[theBackwardsman]

Damn i feel so stupid But i may have gotten this all wrong, but I thought 1 was the "fastest" and 7 " the slowest" But from what ive read about the 1176 it seems to be the other way around?

[makeitwork]

wanna try something different? instead of slamming thru comps in series, split 'em out. mult the vocal to your LA-2A and 1176 separately. then maybe to some other stuff like something cheapo (alesis?) or your old dbx 160X or something. even pump another up with plugs (watch the phase). bring them up into separate faders on the desk and blend to taste.

if you need to skim some peaks, buss the tracks together and run the buss thru a clean fast limiter. or print it back to your DAW and skim it there. experiment. mix controls on that final compressor might be fun too.

FRS

Originally Posted by makeitwork

wanna try something different? instead of slamming thru comps in series, split 'em out. mult the vocal to your LA-2A and 1176 separately. then maybe to some other stuff like something cheapo (alesis?) or your old dbx 160X or something. even pump another up with plugs (watch the phase). bring them up into separate faders on the desk and blend to taste.

if you need to skim some peaks, buss the tracks together and run the buss thru a clean fast limiter. or print it back to your DAW and skim it there. experiment. mix controls on that final compressor might be fun too.

FRS

Good advice: parallel compression = mixing together clean on one console channel and compressed on another channel can help you find out which compressor fits most to a specific voice for a specific song. Try to use the compressor near its knee as a starting point. LA-2A (smooth compressor) and 1176 (hard limiter) sound and compress very different, intended for different purposes. Watch your settings: excessive compression can not be un-done...

[SiliconAudioLab]

Originally Posted by Wiggy Neve Slut

Compressors in series works a treat, once you get the hang of it. Just set the first one with the higest ratio and each successive compressor with a ratio lower than the previous one. adjust attack/release and threshhold to taste.

Wiggy

Yer the best, Wiggy.