Stereo Compression for Piano

[gfunny72]

I've done alot of upright piano this past year and have experiemented alot with all the waves compressors and the TG1. I ALWAYS came back to the Puigfairchild with the Time Constant 5. Sounds big, nice attack and shimmer, really beautiful. The next inline were the TG1 and Vseries. The TG1 gave it an obvious gooey movement which I liked. The VComp was nice too for songs using the pedal with sustain but about 99% of the time I always ended up coming back to the Fairchild, it just always sounded the best to me no matter what the style of the song was. I tracked with no compression to have the flexibility to try different compessors per song.

[Phil Aiken]

I am looking for recommendations for a stereo compressor to be used for TRACKING a grand piano (ie...no plugins). I generally track sans compression either with a pair of Royers, or a Lawson MP47 in Mono, through a Great River, and either compress in the box if for myself, or send them out to whoever hired me to record for them.

A stereo channel might be cool too - pres +compression, or better yet, compression +eq......

Have at it, and thanks!!!!!!

[emrr]

double post....

[living sounds]

I like the sound of a vari-mu type compressor on a piano, gives it a great glue, definition and can reduce dynamics without sounding obvious.

[GearGuy]

Elysia Xpressor would be good to consider. It's on my own short list to buy for a fairly transparent tracking compressor versus my more colored comps. It seems like a great value for the price. They also have it available in the 500 series form factor, but I prefer their rackmount version.

But you don't mention price range or budget. GML 8900?

[skybluerental]

2 Urei LA 3A’s or an ADR Compex.

[therecordinghous]

Neve 33609.

[BillSimpkins]

Originally Posted by therecordinghous

Neve 33609.

+1

Also try a couple Distressors or (believe it or not) the TLA Crimson stereo compressor. Also give the API 2500 a shot.

[catfishmusic]

Not sure of your budget, but there is a cool shootout thread between DW Fearn, QES Labs and I think the other was maybe a Tube Tech....all done on piano....Search the shootout section....

[lobsterinn]

What plugin comps do you like on piano? What are some examples of piano sounds you like?

More info might help people give you appropriate suggestions.

[BillSimpkins]

Originally Posted by lobsterinn

What plugin comps do you like on piano? What are some examples of piano sounds you like?

More info might help people give you appropriate suggestions.

Abbey Road EMI RS124 with the fuse engaged.

[kosmokrator]

Tubetech CL2A

[Bob Ross]

Do you want it to sound obvious? iow, are you looking for "color" or do you just want transparent gain management?

For the latter I love the Aphex Compellor.
For the former, a pair of TubeTech CL-1Bs, UREI 1176s, Distressors...or an original JoeMeek SC-1.

[Ward Pike]

At the risk of exposing myself as a Focusrite Red Series fanboy (i know, that ship has sailed, everyone knows)....

Today's session just cemented for me my belief that for these kinds of applications, the Focusrite Red-3 is just an INSANELY perfect compressor.

The dynamic control as presented in the results is fantastic. No noise or artifacts added. You can't really HEAR any compression. You only get clean controlled results - a compressed dynamic range, and fantastic transient control.

What more could you want with piano?

[Blindman]

I am a piano player, and lately, have recorded a lot of piano. I find that choice of compression is really, especially with piano, context dependent.

I like the Charter Oak SCL 1 for invisible compression. The Rupert Neve Master Buss processor can achieve many different envelop charactaristics.

1176 is great for many pop and rock tunes or for some special effects. Also the Chandler Zener should not be overlooked for everything from light limiting to smashing the crap out of a track.

[Blindman]

Originally Posted by gfunny72

I've done alot of upright piano this past year and have experiemented alot with all the waves compressors and the TG1. I ALWAYS came back to the Puigfairchild with the Time Constant 5. Sounds big, nice attack and shimmer, really beautiful. The next inline were the TG1 and Vseries. The TG1 gave it an obvious gooey movement which I liked. The VComp was nice too for songs using the pedal with sustain but about 99% of the time I always ended up coming back to the Fairchild, it just always sounded the best to me no matter what the style of the song was. I tracked with no compression to have the flexibility to try different compessors per song.

Is that the hardware TG?

[matucha]

Originally Posted by lovenara

yes i secong vari-mu

Third. I like the attack shape and the smooth way it handles all the rest.

[jensenmann]

Originally Posted by matucha

Third. I like the attack shape and the smooth way it handles all the rest.

+1
Gyraf GX for smoothing or Vintagedesign CL1 if I want it a bit rougher.

[gfunny72]

Originally Posted by Blindman

Is that the hardware TG?

I used the plugin - I found it to be the most colored out of the ones I tried, its own sound.

[thenoiseflower]

Track with a ADL670 then mix with Vari-Mu or 2500, into the 670 again

for stereo image importance the SC-link options on the 2500 are key, the inherent brightness of the Vari-Mu is superb, and the input knob sounds awesome gained up on soft sources.(like piano)

either one of those back into the ADL670 and I'm done, sometimes a 550b pair (+2-6db 2.5K shelf) pair before the 670, sometimes not.

for plugins the oxford limiter with the "enhance" pushed up has been nice lately, even on stems of the chain above!

[Andrew Kinsey]

The most impressive piano recordings ive heard have been very dynamic, and you can really feel the attack of the hammers hitting the strings, as if you were in the same room.

These tend to be more the classical kind of recordings rather than what you would hear on a commercial pop realese where the piano has to sit in the mix with drums and has to be compressed accordingly.

If i was picking a compressor id go for something transparent which also had an independant peak limiter, this way i could do as little compression and limiting as possible in each stage and hopefully enhance the recording whilst maintaing the sonic intergrity.

GML 8900
Cranesong STC8
A-Designs Hammer.

The Neve 33609 does have the independant peak limiter aswell but may be too coloured for some peoples tastes, or it might be just the ticket, would depend on if you liked what the transformer saturation was adding.

The Manley VariMu is good for adding some nice character and thickness, not quite as controlable as some of the other units mentioned but its simple to use and makes things sound very sweet and warm.

[Blindman]

IMHO the GML 8900 is the only hardware device listed that can do what the Charter Oak does on a classical or jazz piano recording. Amazing transpearancy.

However, this is not always what you want.

I know that there are endless debates, but the software TG does not sound anything like the hardware counterpart. I own both, and use them both. Just sayin'.

[Phil Aiken]

To answer some of the above questions.....
Looking for colored, but not overly squashed. I frequently get hired to do Nicky Hopkins type piano, but also do some more piano-centric singer/songwriter stuff.
I tend to like a slightly darker tone - but will brighten it up in a busy mix. Off the top of my head the piano sound on Tom Petty's Wildflowers is pretty great to me, Beggars Banquet, all of the Blue Note stuff (yes, I know, not very rock...
)
For plugins I have used the UAD Fairchild and 33609, but lately have dug the new 1176 models....

[soupking]

Okay, this is a boomerang post but I have to wonder why people like Vari-Mu for piano. If so, it can't be for tracking (unless like KRS mentioned that you're the mixer and you know what to expect).

The prospect of tracking with a Vari-Mu sounds like playing the Operation game by Milton Bradley. It's rubber cement. Granted, the only Vari-Mu I have is an RCA ba-25a which I think sounds great for bass. But the prospect of using it for piano is like...Some kind of cheese whiz effect, there's only so much you can use before there's no cracker.

I really think that character is great but if you're just trying to clean up grey matter in the signal and try to tighten things up that's news to me. Maybe I should try a different vari-mu. All mine does is put marmalade on stuff. Again, great for a bass in tracking as it makes it sound like an instrument more than an effect but for piano...wow. Not sure. I'm thinking I should probably rent a few things.

Thanks for reading. :D

[Rick Sutton]

Hey Soup,
The Manley Vari Mu doesn't goop up near as much as older compressors. It's really a different beast from my Sta-Levels which are an old vari-mu design. I wouldn't think of putting piano thru one of my Sta-Levels unless I wanted to make a lumpy sauce.

Bon appetit!

Rick

[JimK]

+1 on a pair of 1176's.... very flexible on piano.

Jim

[soupking]

Originally Posted by Rick Sutton

Hey Soup,
The Manley Vari Mu doesn't goop up near as much as older compressors. It's really a different beast from my Sta-Levels which are an old vari-mu design. I wouldn't think of putting piano thru one of my Sta-Levels unless I wanted to make a lumpy sauce.

Bon appetit!

Rick

Cool, that's good to know Rick. Thanks!

[gfender]

the Elton John sound is a lot of 10000 and a lot of La4

[nickelironsteel]

Inward Connections TSL

[imaginaryday]

volume fader riding is the best for piano, but most are too lazy to spend the time.