Choral compression

[reflexon]

Hey,
Just wanted to get some feedback from any choral peeps out there. I am mixing a choir of about 18 folks that I recorded with 4 mics(2 beyer mc930s, 1 km184, and 1 m149) and I am pleased with how it was tracked. Now its time to mix and I have been basically, bringing the tracks to the board then bussing all of the tracks to the stereo buss and to a tube-tech cl2a for parallel compression. I then plan on doing some light compression during the premaster with some plugins. Things are sounding pretty big right now, but I've never done a solo choir before. Any thoughts? How much compression do you guys use on choirs and where is it in your chain?

Thanks
Paul

[Midlandmorgan]

I usually add just a touch of limiting, to maintain the dynamics of the vocal ensembles....if need be, I'll compress just a little bit when there is a soloist, to help bring it up...

Other than that, I try to leave them alone as much as possible...chorales spend a lot of time getting their group dynamics down - I try to avoid interfering with their productions...

Just my opinion...

[reflexon]

Yeah, I definitely want to maintain their dynamic range, hence the parallel compression. I feel like I have been able to maintain their range. I didn't compress the individual sections specifically for this purpose. But in some of the tracks, there are a few points where the listener will be blown away by some loud sections if they listen to the soft parts at a high volume. Just wanted to even things out without loosing the range.

[lampmeister]

Hi Reflexon,
First I'd ask myself a few questions: Does it need compression? Really? Why? What will be gained by compression? What will be lost?

If you decide it really, really, really does need compression for artistic reasons (rather than the fact there's a compressor in your rack and you feel a need to use it...yes, I know it's very tempting......resist!) then I'm sure other people here will be able to help you much more with the type, placement and degree of compression to use than I.

Experimentation is often the key though; someone else's suggestions just may not work in your setting. Experimentation is the key.

Good luck,

Dave.

Edit: Between me starting to write the above and posting it MidlandMorgan got in there - ignore the (ir)relevant bits and walk on by.

[thenewyear]

An old classical engineer's trick is to have a large compression ratio (8:1?) and a very low threshold running parrallel with the unprocessed audio.

During periods of high dynamics the compressed track is absolutely crushed and completely inaudible for all intents & purposes.

Then during the very quiet passages when the programme material slips under the threshold of the compresser the parrallel track contributes much more to the mixed signal.

This is a neat trick - what it acheives is a lessening of the dynamic range but with almost perfectly preserved transients. I think it was used back in the analogue days to keep material with a really high dynamic range well above the noise floor but it is still fun to play around with these days.

Try it!

[reflexon]

Cool! Thats pretty much exactly how I have it set up. Good to hear someone confirm that this is or was a common practice.