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Opinions on compressors for tracking vocals? Dynamics Processors (HW)
Old 8th February 2003
  #31
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Ianneve's Avatar
 

LOL. Well, thers's is MORE!!!! And I would know right away whether or not if I was keeping it or not. I guess to know that it's fixed if it ever breaks is nice but I've been pretty lucky with that. Knock on wood.
Old 8th February 2003
  #32
There is only one
 
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Quote:
Originally posted by recorderman
I agree with you about mic technique..that nevr hurts, but unless they're experianced at it, and the room/gobeo stituation sounds good they can actually do more harm than good, in that the presense/proximity&coloration of their movement can actually be much more apparrent than the limmiter/compressor.
i like to deaden out the room around the vocalist as much as possible... its easier to add space to a dry vox than deaden a live vox... so blankets deluxe.

personally, i really like that proximity effect during quieter sections... just gives it so much more intimancy IMO [obviously in the right situations]

if i do use a compressor, its just to pull a couple DB's off the loud parts to get the quieter parts up off the floor.

if the vocalist wasnt into backing off, id probably do two passes. a quiet pass and a loud pass and adjust gain to suit.
Old 8th February 2003
  #33
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Steve Smith's Avatar
 

Occasionally when tracking live stuff, I will split the line off the mic and go into two identical channels of preamp, and one run a good 10 to 15 db quieter than the other so that I can comp away if needed.. It can save the day on any cool screamed stuff..
Old 9th February 2003
  #34
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almost always use 2 mics while tracking vocals at different levels...matched mics and matched pres set for differnt levels...going thru a dbx 160sl not linked....
Old 9th February 2003
  #35
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Really? Never seen that done. Where can I hear your results?

Mitch
Old 9th February 2003
  #36
I gotta try that next! (STC-8)

Thanks for the tip...

See how it compairs to my UA1176

Old 9th February 2003
  #37
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Quote:
Originally posted by Ianneve
Really? Never seen that done. Where can I hear your results?

Mitch
get off..the end theme for dennis miller show on hbo...would be the easiet to hear....g.
Old 9th February 2003
  #38
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HUm,, Don't get that.
Old 11th February 2003
  #39
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Quote:
Originally posted by Ianneve
HUm,, Don't get that.
get off is the name of the song by the group foxy used on the dennis miller show on hbo....used two matched u87s one about 5 to 6 inched behind the other going thru a dbx160 unlinked that is an older recording today i use the same technique but with a 160sl and either 87s or dragonfly limiteds ...the close mike for the softer intimate phrases and the further one for the belted out sections...because of the proximity effect the slight tonal changes thin the louder sections but to me still sound natural...using this methode i find i use very little compression and the sound stays more natural...does that clear things up?
gary
Old 11th February 2003
  #40
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Very interesting indeed and I appreciate the post but what I meant was that I don't get HBO. Thiking about getting one of those cable boxes off the internet though so I might have it soon?

Mitch
Old 12th February 2003
  #41
Lives for gear
Jeeez, this is a great thread
Ok I'd like to get a stereo comp to try on the 2 buss but this thread got me thinking about using this same comp to do the limiter/comp trick on vocals. So what about using say the api 2500,the Slam,the cranesong stc-8, anybody tried these on vox using the series limiter/comp trick? I've read in other threads that the api and the slam sounded nice for 2 buss just curious about other uses. thanks
daniel
Old 12th February 2003
  #42
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I don't know how much I have to do with it being a great thread but since I started it, I'll say thank you. LOL. :>) I shouldn't think the API would be a good stereo mix bus comp as it is said to be and I would think it is pretty colored, as it's API. Have not heard it though so Ill shut up now. In fact I ahev not heard any that your are considering but as the new proud owner of the Crane song hedd I would think whatever they make would be amazing and I look forward to owning one of their compressers next.

Mitch
Old 20th February 2003
  #43
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Here's one I picked up from Al Schmitt. He always has a the vocal patched to a fader on the console prior to the compressor and simply rides it in real time while the singer tracks. This is real old school stuff. No need for vocal technique or dual limiters because he is the first limiter!

I had someone make me a single channel fader (langevin) in a little black box and once in a while, with a dynamic singer, I'll throw it in the chain. People get a kick out of my 1 channel mixing board and what's great is that it allows total control as to how hard you hit the compressor -you'll always be in the sweet spot.

Ianneve, since you say you're a dynamic singer, you may want to talk to your engineer and see if he's game for this.

Zep,
MajesticMusic.com
Old 20th February 2003
  #44
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LOL. This is all great but these days in the land of indipendent labels and record deals I am my engineer most of the time. And I could ride my own vocal but I don't think it's neccessary. When I was on DA 88's I used to have the remote next to me and I would punch while I was singing all the time. I got to the point where I could punch a T at the end of a word if I needed to. That remote is the best I've ever used. But no need for that anymore in the land of DAW. Anyway,,,, I'm still using the L 251 mic through the UA 2-610, through the Tubetech cl2-b then through the HEdd with the tape knob and the triod and diod knobs active and I'm getting a REALLY good vocal sound. I am singing inside the ACS studio traps "quick sound field" as well which makes a HUGE difference, with the mic in omni. It sounds SO much more real and natural in omni and it's possible inside the traps. It's an amazing sound. :>) I'm a happy boy.

Mitch
Old 20th February 2003
  #45
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chap's Avatar
 

strokes for folks

Great tip from Fletcher. Reminds me of the Tony Visconti/ Bowie setup with 3 microphones set up with gates for various levels.
I've simplified for vox.Pick the right mic and pre amp for the singer first. Then, run that through the SLAM! and adjust to taste. The combination of compressors leaves the track transparent or crushed. Suit to taste. Of course it's even easier to use the SLAM! pres.
Old 21st February 2003
  #46
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Bob Olhsson's Avatar
 

Quote:
Originally posted by Zep Dude
Here's one I picked up from Al Schmitt. He always has a the vocal patched to a fader on the console prior to the compressor and simply rides it in real time while the singer tracks. This is real old school stuff.
The thing that has always fascinated me is that I always do a lot better job when I can see the singer and they can hear me riding the gain in their cans. There's some interactive magic about it.
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