Using an 1176 & LA2A together for vocals?

[bassmac]

It seems a lot of people like using both an 1176 and LA2A on vocals.

How/where do YOU use both of these? (from tracking to mixing)

Please include details about ratios, gain reduction, etc.

Thanks

[TonyBelmont]

I track with the 1176 and would use the LA2a during mixdown... Settings depend on many factors...

[RoundBadge]

occasionally on some vox, I'll do an LA2A for the smoothing ,then ...1176 fairly Hi thresh at 12 or 20:1 [attack to taste] just to catch the odd peaks[a little safety net] that get by the LA2A..
sometimes its the perfect combo for mellow vox with the odd occasional loud/wailing/screaming parts

[jbuntz]

Method A:

Slam the LA2A
Grab the stuff the sloppy attack of the LA2A misses with 1176

Method B:

Use the 1176 pretty agressively
Tame it with the LA2A

Use your ears and find what works for the song.

[Jim Roberts]

I usually use jbuntz' Method B.

[blackcatdigi]

Generally, mic pre (usually DW Fearn) to 1176 (4 or 8:1) catching peaks, then to LA2A shaving 3-4dB off of loudest sections, then, CL1B at mix. Huge, warm and intimate.

YMMV

[crypticglobe]

When I use them together... I am usually trying to do it to get a very smooth sound but still with a LOT of compression. These two units are great for that because of the character.

A friend hooked me up with the most common method (Alanis, Michael Jackson, etc.).

Here is what he told me and I have been using it with amazing results ever since on pop style vocals.

LA-2A first.

Set it to Limit. Adjust to where the needle is moving no more than a quarter of the way over on the peaks... mostly not moving much at all on a moderately dynamic song.

Then, set the 1176 to 4:1. Set the attack as slow as it will go, and the release as fast as it will go. Again, set the input to knock off only the big peaks that are getting through. Set to where the needle doesn't go up much at all, and only on peaks.

That's your starting point. It is is REALLY smooth. You won't hear much compression (though it is compressing quite a bit) at all, but you will hear the character of the transformers, etc. It's sure lovely.

I use this as my starting point. If I want to "hear" a little more compression, I might crank the input on the device I like the best for that vocal. Usually I stick to the stock setting though. It puts the vocal at a REALLY consistent level doesn't kill you on the "s"es, and you don't hear a lot of compression artifacts.

Very, very nice. :)

[bassmac]

Thanks for the suggestions.

I know there’s a million combinations, but I wanted to try some proven methods first.

Very helpful