Perfect timing for me with these details. I am getting ready to start recording vocals for an album. Thanks so much for everything David, your content is much appreciated.
Hi David, your rapid fire series is a great source for quick and practical solutions. I´m into mixing for about 30 years and I´m still get something out of your videos. Great work, Mate!
As a singer I have to Thank you very very much for this video!!!! When I star to sing with in ears I realize how uncomfortable is to sing without compression and we need GOOD compression!!!
I just started doing this and noticed how much better my vocals and other people vocals turned out. Even the rough mixes already sound good and makes mixing later a breeze. Love the video 🔥
My brother whats going on!? Like always greeeeat video I understand you 100%. I love compressing vocals on the way in this is a major key of getting great vocal performances. I really feel like you should make a video on how to use an compressor on vocals while recording with both your tast of how you record with it and show them a safe way for beginners to record vocals with compression. I really believe it’s very needed because a lot of RUclipsrs doesn’t show this in action they just talk about it. I really believe if you show them it will translate very well. Like always thanks for the videos and keep them coming😃❤️.
I' haven't tracked a vocal without compression in like 20 years. Interesting idea that you get a better performance from the singer with compression. You're channel is full of great info. Thanks.
This should be a sticky in ALL RUclips and the Universe. We singers can go from zero to 120 db in a heartbeat. And yes, change positions because we might get louder or lower? Nah. And yeah, proximity effect sometimes is very useful. But you said it best: Vocalist should feel FREE! And do whatever they like. (We can make a syllable because we feel like it, have a very low volume, then go back to normal, and if we have to push that low volume syllable, it won't be the same at all, could even be out of tune, texture, etc). Mate you're awesome ;)
Thank you for this most interesting insight. It's great you share this with us. I have nearly zero experience with vocal recording. I recorded but I didn't know what I did actually in the 90th. I will work for the first time with a singer in some weeks again for the first time again and this will help me a lot. Have a great time David and good luck with your studio building. I'm looking forward for the next part of your new compression series :)
This was really awesome to watch because it told me I’ve learned something and have been doing something right ! Lol but question for a video Creating multiple outputs in I/O for multiple headphone mix’s for a band. Nobody really talks about having multiple interfaces and the little details on cue mixes for everyone.
For anyone interested, that 'Diode Bridge' style of compressor uses the same concept, in electronics, which is used used to convert an AC power supply into a DC power supply (eg a phone charger). It's called a 'BRIDGE RECTIFIER CIRCUIT' and uses diodes to re-route the NEGATIVE cycle of the AC wave into a POSITIVE cycle, which causes the AC power to become DC power. That is why you can charge your DC phone/tablet/laptop from an AC power source. It's a very fundamental circuit in the modern world.
Thank you brother! I love your videos. My question is, why print with the compression? You can have the singer hear it with compression on a bus and still record the uncompressed signal.
The question is why would you record the uncompressed signal? You're going to compress later on so why not commit to the sound you want? Also not tracking with means you're either gonna use plugins (which of course ain't gonna sound the same) or you're gonna have to go out from your DAW and back in which will add a conversion stage. And lastly, there's impedance matching. Various units sound different also based on what comes after .
Great video man - nice one! Do you ever use two different compressors on the way in eg. an 1176 into an La2a or vice-versa. Do you think using this kind of set up so that you get say a total gain reduction of about 8db on the way in is a good starting point if you don't have tons of experience.
Awesome topic matter! I have question with regard to: A) The order of the components in the chain with respect to using compressor on the way in. (Since clipping is a phenomenon which occurs in the digital domain, I would think it would be best to use an analog compressor & mic pre before the A to D converter.) Question A): Is there a way to insert the compressor before the adjustable gain circuit of the preamp? If so, then I would think this would help stabilize the gain and help prevent both gain clipping, and noise floor issues (given that the room is indeed quiet) As well as, B): If what I said above is correct, would this same advantage of gain stabilization using analog comp (prior to the adjustable gain stage) compare with an Apollo Twin which is using an emulated compressor? Regarding the Apollo Twin emulated comp method, my thoughts are that there may be sonic benefits to the “self feedback” the singer hears, but the less benefits regarding gain stage stability; Since clipping occurs in the digital domain. And perhaps with a real analog compressor before gain stage, one might see more benefit of gain stage stability and consitency? What are your thoughts/experiences if any comparing the two? Does Apollo Twin method = still having gain staging instability; If so, might as well just throw a plugin on a track in the DAW LOL Does a real analog comp inserted just before the gain staging provide more stable gain staging, helping to preventing clipping when converted from analog to digital? (Its my understanding that analog saturates or distorts, and does not clip, and digital clips and does not saturate leaving squared off edges.) Sorry for the long drawn out questions, its difficult to describe to the level of detail without explaination… Keep up the awesome tutorials, my mixing has gotten soooooooooo much better since Ive been wathing your channel!! Cheers!!!
Recording with plugins is no different than applying the compression after the recording when you mix. This cover the twin apollo thing. The compressor (or eq or anything else) goes and can only go after the pre because the mic needs the preamp to bring its mic level signal to line level which is the level all outboard works at.
Thanks for the quick response brother!!! I am an electronics engineer, and would certainly like to talk current gear technology, and what you would like to see developed! To respond to your response LOL: I read what I typed, and can see how it wasn't very clear… I guess what I meant was: I agree with you regarding comping on the way in… As long as the comping is in the analog domain, and before the Analog to Digital Converter; The reason is: That clipping occurs in the digital domain, and compressing the signal before the ADC is more forgiving when the signal peaks out…. And given that the preamp is 100% true analog signal, you wont get clipping, if anything you will get some saturation which isnt such a turd to the ear compared to digital clipping LOL! All said, I have been working on a preamp design which has Class A Push-Pull circuitry built right in to gain stage circuits. If there was such a thing you would certainly already, I figured you would know about it already. Is there such a preamp? I am curious as to wether all preamp inserts utilize the same circuitry (after the gain boost stage). If not, then I think my design could be useful. I don't have a prototype other than what Ive built on breadboards. But it did work decently when I employed several gain stages with push-pull inserts in between each gain stage; Basically I am trying to use only three gain stages, 2 in series boosting by half, and the 3rd and final stage possibly being for a final phase correction just prior to the Analog To Digital Converter… So in short: Basically I want the final product to be automatic gain stage correction, and I am considering adding a clip detector just after the A to D Converter which would send feedback to the preamp circuits for self correction; The user would simply select what they want the gain range to be set to, and the preamp would keep it there. If I get it going on a low-noise PCB, perhaps I can send to you to test it out and provide some feedback; If your down with that, hit me up!
back in the day we used to feed the singer a monitor mix with gobs of compression and reverb but recorded hot and dry. i guess things haven't changed except i don't get the need to record with the compression as well unless there is a 'hiss issue' and you need to boost the entire level to drown it out but that's never an issue these days..
I was looking for an answer to this question, to use or not to use compression while recording my vocals. Great insight and logical answer, it's much appreciated. By the way is the compression added only to the headphone mix while recording?
Wow... awesome video, very clearly explained, thanks so much for sharing your experienced insights, you got my subscription straight away! I just have a small recording set up at home for my own music, at the moment i'm using a Tascam Model 24 for tracking, it's a hybrid analogue/digital desk that has onboard compression on 12 it's channels so i use this basic compression to compress on the way in... but I think it's time for me to upgrade and get an outboard compressor for this purpose... Obviously i'm always on a budget, so am thinking of getting a relatively cheap unit, around €300/400 or so...something like the ART Pro VLA II, or the Klark Teknik 76-KT, or the FMR Audio RNLA 7239... would you recommend any of them, or is there any other sort of budget compressor that you could recommend? Many thanks again! :)
Thanks for the valuable info David. I have been told in other sessions, that it is not good to compress hard the way in and alternatively use gain automation after it has been recorded. With this session, I just hear the opposite. Secondly, I had been told it is better to use 2 comps doing the job in a subtle way instead of having 1 doing it the heavy way ? It makes it difficult to choose a manner when hearing different opinions. At the end, the best way is to try several sessions, with different manners and pick the best out of them in the mix.
I like this. Especially since I have done this already before I knew anything about mixing. When I was singing it sounded better if I tracked with a compressor on the way in, at least when I do growls, I used to just slap on a compressor and push it very hard. I also did the same when I did whispery voiced and stuf, but that was because I could hear myself better when it was compressor to the ground, and it also brought up more details. But then I got into mixing and saw that a lot of Mixing RUclipsrs told me to be more subtle and just controll the peaks on tne way in, and be more aggressive after wards
But I performed better with the heavier compression. I also never really was a fan of the stepping back and forth thing that you talked about. I prefer to do what feels best to do
nice i will try the same (with other effects not neccessarily comps) with virtual instruments that i record in via midi so i can get the right feeling and have to edit the midi notes less, thanks david
This is helpful. I am planning to buy a mic for vocal recording only on karaoke tracks (Smule app) . Should buy the Apogee HypeMic, which has an in-built compression or should I buy a better mic such as Rode NTK or Neumann TLM 102, which are considered good mics but don't have compression feature?
Think this, all the records you heard until now, they were recorded with normal mics without a compressor built in. Now, with that said, maybe that mic is amazing, I've never tried it so take my words with a grain of salt, and apogee makes great product but I've never even heard they also made microphones. If you want to be safe, get a good mic, Vanguard labs also has amazing mics around the price range you're looking at, and then get an FMR RNC as compressor if you want one.
Thanks. Have you ever had any issues with time-stretching or pitching? I see people posting about higher res having better quality for that. I'm assuming your clients probably don't need much of either.
Ok. You need Questions? Here is one: What do you think about Monitoring Vocals trough your Interface with Headphones where you have still a Latency about some Samples (even when the Manufacture says Direct-Monitoring? My Experience is, that it can happen, that the Singer(in) intonate flat or sharp. Because he/re hear his own Voice over hes Bones, and one more time over the Latency afficted Interface over the Headphones?
Hey David as usual great information. I do have a question regarding tracking vocals with compression. Do I track with parallel compression i.e BLEND knob on 100% 50% 25% etc.. or do I leave it off and just use the normal compression without the blend knob? Thanks you
Just like the SSL channel (plugin) that comes with HP filter post-compression by default, Do you prefer aplying them pre or post? I think the best way is Pre (because of pops or noises like that) but I don't know if there's any case where it would be better to use it in post. Thank you for all this great information David! Loving this channel.
Filters are always the first thing, can't think of any situation in which you'd want them after, aside some specific piece of gear that can create unwanted content down low or high
I use compressors at tracking. I agree that the singer should protect their voice with compression. They perform better and use their voice to create color not volume. I don't, however, print the compression. Everyone hears the same compression on the way in and in playback. I add the final compression at mix. This may or may not be the best choice. It is just how I prefer to work.
Thank you so much for sharing your knowledge freely...Here's my question- is izotope's tonal balance control a reliable tool for checking your mix balances..especially if you don't have a well treated room and you have smaller monitors and can't hear the low end
You can do the same thing with plugins and get both of both worlds just keep preamp gain low so the maximum like -6 db will be the loudest singing part ,check it before recording
I use an gap pre73 with input and output i can add color without gain ,the noise floor is low enough so you get very little noise even if the mic is recorded with lower gain
Thx for the advice dave and good question.!👍🏼maan, maybe i missed it but where did u buy the lights in the background that reacts to audio?? Me like it!!!
Wow. thanks for the great info! When you mentioned for ballads and such that you prefer to use Optos for tracking on the way in.. is that in combination with a Fet or do you choose one or the other? I'm also guessing rock vocals would get the same treatment as rap (fet?). Thanks!
These are very generic examples I'm doing to help people who can't audition and try things. The truth is you never know what's going to work on a given vocals, after a while you just guess right because you have enough experience. But Usually if I'm tracking with an opto or a MU I'll mix with a Distressor, or an blue stripe sometimes. For more aggressive vocals, I could very well track with either a 76 or a Distressor and mix with another one of the same
so you put a compressor on the vocals.......and what do you sidechain the compressor with? you can sidechain to your own track that you're editing i'm really confused about sidechaining now
Hi David i’ve been recording a cuban dancehall pop type of singer and im also recording lots of drill, hard hitting rap guys. Ive recently bought the warm audio 76, do you have any safe attack and release settings or starting points for these type of situations?
If all sound engineers would be like you, I could’ve avoid unnecessary frustrations and stay focused on the performance more than controlling the volume of my voice. All the best
Fantastic video, learned a lot from your explanation. I am an opera singer, Tenor and do my own recordings at home using a Apollo x4 charteroak mic and own the UAD plug ins, fabfilter. I recently bought the avalon and it has a compressor and EQ..till now Ive been using the vocal preset that Avalon put in the list which is fast attack and fast release tres is 4 - would you change the settings for an opera singer on the way in? I compress around 3 Db on the loudest parts there I am pretty good in controlling my dynamic in singing. I also recently bought the UAD Neve 33609/C because I was told it is good for recording voices like mine and operatic music..love to hear your ideas - PS I use 2 track orchestra tracks or piano..Thanks in advance
Avalon (I assume the 737) it's a fairly slow opto compressor, so even at fast settings, it's a pretty safe bet for your style of singing, especially if you're compressing that little, for me it would be too slow for pretty much anything else when tracking. The eq is the best part of that unit, you have a solid signal path there with the CO mic. As far as the 33609, you mean the plugin? despite the marketing, "recording" with a plugin is not really possible, meaning, it's no different than applying it after recording, so first, I'd leave it for that. I don't know the plugin, but I have a real 33609, and while it's an amazing compressor, the tone of it is great (altho' you're a tenor, even with a fairly transparent path like yours the thickness of that comp could be a hit or miss, again, the hw at least), I wouldn't not associate the behavior with your style to be honest, the settings are very broad and don't allow fine control, it's more a comp you see used in rock for drums, rock vocals, OH, guitars etc.. but if set properly COULD work.
@@mixbustv Good morning, Thank you so much for your fast reply and advice. Yes I have bought the plug ins versions of UAD. Today I will take all your information and work on it in a new way trying all out. Another question I know you could help me with; when I recorded my vocals into a orchestra or piano (classical aria) would you process the vocal in the same way as I see in so many videos people advice vocals to be treated with all kinds of effect plug ins ect like delay, even I see effect used on them - when I do that it doesn't really sound like my opera voice anymore. I have no idea how they process operatic voices in these big studios - I only see they use 2 mics as a stereo effect or a widening effect I guess..but, when I mix and treat the vocal what would be your advice? to keep it as natural possible by only using some EQ and compression and reverb? I own the capital chambers as reverb also from UAD..
David! I pulled the trigger! Got the Waves combo! (Abbey Road Saturator plus the other ones). Also have the CLA 76. I'm mostly concerned about vocals, as you can tell. I can choose a free 29 bucks plugin (out of 150!). Which one should I get? Like the absolute most? :P (Cobalt Saphira? :P Aphex Vintage Exciter? I am a total Waves noob, thanks so much.) Edit: Just tested the API 2500's preset: Lead Vox, wtf! This sounds amazing! Added the Puigtech EQP1A to attenuate a little bit the highs... wow, it does what's needed. Compared the same model to the Tracks5 (IK Multimedia) and they sound different, specially it's like the Waves one doesn't mess with other frequencies, whereas in some mid lows get changed with the Tracks5. I didn't know Waves really put effort into their plugins. If I only knew then.... I am scratching my head right now...
@@mixbustv Thanks so much David. You have expensive tastes! :P The 550B and the SSL are 34 not 29 :( So I can't pick them as my free option from the bundle. Maxx Bass is useful for vocals or just bass in general? Forgive my ignorance :P
Have you ever learned pedagogy? Because you sure sound like you have pedagogic skills! It is always so easy to understand what you are teaching us. But can I ask you this: for Bellas's voice, what mic do you use when recording her and what is your tracking chain (hardware and/or software) for Bellas's voice? I collect microphones and love my Neumann u87 but my favorite is maybe the Neumann U89i from the 80’s. But I also use a very clean Røde mic. And I also have to mention a mic from the 50s from Electro-Voice. Thank you again for sharing your high level of knowledge! Kindest reg from Ole Marcus 🇳🇴 🙏🙇♂️😃🤙 Ps. I love Israel btw. Been there on holiday and the people were so nice, helpful and sympathetic/friendly! Can't wait to go there again! ❤️ (You do live in Israel right? If not please scratch the last sentence so I don't portrait myself as a total fool! lol). 😊😂
MixbusTV Oh David! thank you so much for the nice reply! You, are always so nice to me when I ask you questions. Thx for that!! Sorry for imagining you living in Israel. I have no idea why I thought that but I did. Haha 🙈. And so extremely cool that you used the 89. I rarely see that mic here in other studios in Norway. But I feel it is a little bit brighter than the 87. Do you feel the same? And guess what, I got it for free from the Norwegian broadcasting company when they moved some studios. I'll stop bothering you now but I am so thankful for your answer. You're really a great guy! Maybe I'll buy some studio time with you next time I'm in LA😊👍 Would have been an honor to meet you in person! Don't worry, I'm not a stalker or weirdo. But being respectful and nice to other people has helped me a lot in the music business world and in life in general. Namaste 🙏
Watched this yesterday, but came back because I'd forgotten to like - and I normally do, just for the support factor. But watching again, damn, you got me thinking, I've only ever had the option of using the limited compression functionality on my old Focusrite Trackmaster Pro, and it's just not good enough. In fact I've stopped using this channel strip because it seems to have intermittent faults. Do you have knowledge or views on the dbx 560A? Or, maybe a suggestion for any other good comp around the £200 (£265 USD) mark? Edit: Just rewatched earlier vid 'Top 10 Cheapest Hardware Compressors you can buy', So the FMR Audio stuff looks good. I better watch the dedicated video
@@mixbustv Appreciate the reply, bro. It'll be a new year purchase methinks! I just splashed out on an Audient ASP880 and few smaller items. Looking forward to playing with that for a while. Only one thing troubling me: The shop I ordered from have sent it DHL (Dan, dan, Daaaaaannnnnnnnn!!!!!!) Wish me luck :-)
Hi David « You don’t eq if not for filters » does that mean you sometimes could use the low cut filter on a U87 or similar mic ? (in pop / rap style) thanks !
You can't track with plugins. Plugins are, by definition, digital. A signal coming from a mic or an instrument is analog, therefore, it needs to be converted (analog to digital) before a plugin can process that signal. The signal has been tracked already, it makes no different if you putting it while tracking or later on in mixing, zero. To track with any processing you need hardware and it needs to be BEFORE the AD conversion. It's basic signal path and physics
I've seen older videos where you show how hard you go on acoustic treatment (maybe an old studio). As a mixing engineer, do you lean more heavily on absorption or diffusion? Or a balance of both? I realize this topic is situational depending on the room- but generally speaking, do you prefer a more live or more controlled/dead environment while mixing?
MixbusTV So I figured I'd look up "sound refraction" before replying- and it's kinda blowing my mind. How do you achieve refraction in a studio? Like, simply with certain surface types or is there specific math involved? And I hear what you're saying about diffusion over bass trap combos- bc of course, I am in fact in a smaller room. Do you ever or have you ever explored trying to tune low end absorption by way of things like helmholtz resonators? I wouldn't try it myself until I could pinpoint what frequencies to target- but do you? Just curious. Thanks!
MixbusTV as long as only one preamp supplies 48V, then all is well splitting and going into 2 preamps. But, my question about how you do it was answered. Thanks. 😎
to simulate this in the box. Can we record to an aux track while loading a compressor plugin of choice on the live track feeding the aux track the compressed signal?
What about a singer who doesn't want to hear his or her own voice through the headphones; just the backing track? I know when I record my own vocals, I just want to hear the backing track in mono through my left ear, while I leave my right ear uncovered so I can hear my voice naturally in the air. Hearing myself through the headphones tends to throw me off with time and especially pitch. (I have enough trouble staying in key as is.)
DO you find using hardware on the way in is bad for Modeling Mics? I have a Bad Sphere and am trying to figure out to use some of my outboard gear( Manley Voxbox and Aurora GTC2) thanks!
@@mixbustv ok, my main concern is that it would put the microphone after the preamp? Also that the uad sphere dlx is a stereo mic so maybe you would have to use the same exact settings? I’m not sure just asking. Your channel has been game changing for me btw. Thank you 🙏
waassa my man tried loads of difrent ways for singing live and not feeling the compression. feel i cant sing with it live i lose my tone a bit ...what would you recomend what aproach or something
Tracking trap vocals on the Mike E with a 4:1 ratio, .9ms attack 100ms release about 3 db of reduction. Would you say that attack is too fast? Would backing it off to 8ms make more sense for this style
I'd say 3db of reduction is very little but with an attack that fast it can make sense, but it all depends on the vocal and what you want to get by compressing on the way in, trap vocals with a very fast pattern can benefit from this especially if the rapper doesn't really pay attention to his dynamic (which usually don't) just make sure you're not chocking the performance and making it dull, you can control peaks in post, harder to do the opposite
@@mixbustv thanks that makes sense 🤘🏾. Ill experiment some more with the slower attack times. 8ms just seems slow and im afraid it will end up too '"jumpy".
Does anyone know whether it is possible to use the multiband compressor in Adobe Audition when recording vocals? I often record myself either singing or recording narration but I want to be able to concentrate on the performance rather than having to watch the recording levels to make sure I don't clip. But I can't work out how to get compression when recording, the effect only seems to work on an already recorded wave. Any suggestion for how to do this with Audition would be amazing.
@@mixbustv No I didn't know you need an analogue compressor in order to record. By analogue compressor I take it you mean a physical, external module that does the compression its self then feeds the compressed signal into the software. I only have Adobe Audition and I know you can add compression and a hard limiter in post production but I was hoping that there would be some way of getting the software to record using these effects. I thought the compressor helps to reduce the level of the loudest parts and brings up the level of the quietest parts producing a recording that is more even in volume throughout the duration of the recording, thus preventing sudden loud peaks which get clipped by the software, hence my use of the word "clipping" but if I am wrong then I am happy to be corrected. Thanks so much for your response.
Why don't you use a compressor plugin instead? You get the sale result and you avoid the risk to mess it up. I use jst gain reduction for that and it works great!
@@a.z.recordingstudio3928 The point about hitting the pre-amp with a consistent level is important, in this case. If you want an evenly driven pre-amp effect, you have to compress before the pre-amp.
That's a ouija board on your shirt!! 😂 Be careful that stuff is very dangerous!!👹 You say you compress on the way in for the singer to perform better and I agree but adding a 2A compressor plugin would do the trick no? I do that and I couldn't sing without compression and reverb.
MixbusTV I can see! I'm thinking about getting the golden age 2A to do that because I spend too much time automating levels and changing gains on some words or even on syllabs in logic. I hope it will give me a more consistant vocal track...
I guess I'm a "purist" - I don't like anything on the way in, except with a very loud, extremely dynamic singer, where limiter is a good idea . I do understand compressing to control the levels for the singer, but why not just do that to their monitor mix, rather than record it? Like reverb, or delay, or other effects that are for the singer's benefit only, I could see compressing their monitor mix. As for "mic technique," most experienced singers seem to do that instinctively, so I wouldn't want compression to give them an inaccurate impression of their levels. However, since a rapper isn't really a singer, and is unlikely to use mic technique, compressing their monitor mix AND the recorded signal might be a good idea. Likewise with that type of metal with the screaming/growling/gagging thing, or whatever they're trying to do. Those guys all eat the microphone so it sounds like they're screaming even if they're not, so if I ever had to record a vocalist like that, compressing the fuck out of it on the way in is probably a good idea. :-D
@@mixbustv I feel like I insulted you in some way, which I did not intend to do. I'm sorry if I came of as criticizung you, because I wasn't. There are no rules when it comes to creating, right? First of all, to clarify, I never use a limiter going in either, because like you said, we shouldn't be recording anywhere near clipping. I only mentioned that because over the years I've learned that it's not uncommon for engineers to do that. The main point of my wordy response was that if the main reason to compress on the way in was for the singer's benefit, why not just do it in their monitor mix? But you answered that, so I understand that it also saves you time in the mixing process. That makes perfect sense to me, and I may even try it myself. :-) Regarding mic technique, I am going to disagree with you. I've worked with a lot of singers over many years, and I can say that indeed, most of them naturally back away for the louder, higher notes, and move in for the softer parts. I have never worked with any rappers. I don't like most of it, so I probably wouldn't be the best choice to engineer or produce it. But I would never argue that rock singers are among the best in history, since all my favorite singers are rock singers, going all the way back to rock's roots, like Little Richard. As for metal, that's not a very precicely defined genre - at what point does hard rock become metal? I don't pay much attention to genre, because for me it's all about songwriting and composition. The only metal I can't take very seriously the kind where the vocalist does nothing but scream atonally into the microphone. I recorded a band like that, and the singer's lips were right up to the microphone the whole time, i.e., "eating the mic." But "to each his own," as they say, There is nothing wrong or right about musical taste, it's entirely a matter of opinion, so there's nothing to argue about. I like your videos. I watch most of them when they come up on my RUclips feed, and I often learn something new. So thanks!
Perfect timing for me with these details. I am getting ready to start recording vocals for an album. Thanks so much for everything David, your content is much appreciated.
Hi David, your rapid fire series is a great source for quick and practical solutions. I´m into mixing for about 30 years and I´m still get something out of your videos. Great work, Mate!
As a singer I have to Thank you very very much for this video!!!! When I star to sing with in ears I realize how uncomfortable is to sing without compression and we need GOOD compression!!!
I just started doing this and noticed how much better my vocals and other people vocals turned out. Even the rough mixes already sound good and makes mixing later a breeze. Love the video 🔥
My brother whats going on!? Like always greeeeat video I understand you 100%. I love compressing vocals on the way in this is a major key of getting great vocal performances. I really feel like you should make a video on how to use an compressor on vocals while recording with both your tast of how you record with it and show them a safe way for beginners to record vocals with compression. I really believe it’s very needed because a lot of RUclipsrs doesn’t show this in action they just talk about it. I really believe if you show them it will translate very well. Like always thanks for the videos and keep them coming😃❤️.
Thank you for sharing the knowledge. Looking at music through a entirely different lens now.
Just picked up an 1176 for tracking (Audioscape 76F), so this info is really helpful. Thanks! 🤙🏽
I' haven't tracked a vocal without compression in like 20 years. Interesting idea that you get a better performance from the singer with compression.
You're channel is full of great info. Thanks.
that idea hasn't crossed your mind in the last 20 years?!!🤣
This should be a sticky in ALL RUclips and the Universe. We singers can go from zero to 120 db in a heartbeat. And yes, change positions because we might get louder or lower? Nah.
And yeah, proximity effect sometimes is very useful. But you said it best: Vocalist should feel FREE! And do whatever they like. (We can make a syllable because we feel like it, have a very low volume, then go back to normal, and if we have to push that low volume syllable, it won't be the same at all, could even be out of tune, texture, etc).
Mate you're awesome ;)
This was best advise i got on using compression, did not finish the vid and i was off with compression making me feel thr performance. THANKS!!!!👍
Thanks for sharing. your input! Definitely good points to consider while using compression on the way in.
Thank you for this most interesting insight. It's great you share this with us. I have nearly zero experience with vocal recording. I recorded but I didn't know what I did actually in the 90th. I will work for the first time with a singer in some weeks again for the first time again and this will help me a lot. Have a great time David and good luck with your studio building.
I'm looking forward for the next part of your new compression series :)
This was really awesome to watch because it told me I’ve learned something and have been doing something right ! Lol but question for a video Creating multiple outputs in I/O for multiple headphone mix’s for a band. Nobody really talks about having multiple interfaces and the little details on cue mixes for everyone.
Got notification for this vid when it was released and immediately gave it a thumbs up... didn't have time to watch until now... Superb as always.
For anyone interested, that 'Diode Bridge' style of compressor uses the same concept, in electronics, which is used used to convert an AC power supply into a DC power supply (eg a phone charger). It's called a 'BRIDGE RECTIFIER CIRCUIT' and uses diodes to re-route the NEGATIVE cycle of the AC wave into a POSITIVE cycle, which causes the AC power to become DC power. That is why you can charge your DC phone/tablet/laptop from an AC power source. It's a very fundamental circuit in the modern world.
I always using ANALOG COMP on recording vocals, its helps to not do so much mixing after 😍
I've watched your videos and for the first time I agree with you 100%.
Thank you brother! I love your videos. My question is, why print with the compression? You can have the singer hear it with compression on a bus and still record the uncompressed signal.
The question is why would you record the uncompressed signal? You're going to compress later on so why not commit to the sound you want? Also not tracking with means you're either gonna use plugins (which of course ain't gonna sound the same) or you're gonna have to go out from your DAW and back in which will add a conversion stage. And lastly, there's impedance matching. Various units sound different also based on what comes after .
Would you say the “Golden Age Comp 3-A” is a “safeproof” compressor for tracking, like the 2A ?
I’m in 100 percent as usual,on this one, so informative ,Love the quick content,and yes mix ready for sure,Merry Christmas from Calabogie Canada
Great video man - nice one! Do you ever use two different compressors on the way in eg. an 1176 into an La2a or vice-versa. Do you think using this kind of set up so that you get say a total gain reduction of about 8db on the way in is a good starting point if you don't have tons of experience.
@@mixbustv Cool - thanks man - thats good to know - loving this channel btw - all the best buddy :)
Great information as always! Thanks for the recommendations and advice!
Thank David!
Awesome topic matter! I have question with regard to:
A) The order of the components in the chain with respect to using compressor on the way in. (Since clipping is a phenomenon which occurs in the digital domain, I would think it would be best to use an analog compressor & mic pre before the A to D converter.)
Question A): Is there a way to insert the compressor before the adjustable gain circuit of the preamp? If so, then I would think this would help stabilize the gain and help prevent both gain clipping, and noise floor issues (given that the room is indeed quiet)
As well as, B):
If what I said above is correct, would this same advantage of gain stabilization using analog comp (prior to the adjustable gain stage) compare with an Apollo Twin which is using an emulated compressor?
Regarding the Apollo Twin emulated comp method, my thoughts are that there may be sonic benefits to the “self feedback” the singer hears, but the less benefits regarding gain stage stability; Since clipping occurs in the digital domain. And perhaps with a real analog compressor before gain stage, one might see more benefit of gain stage stability and consitency?
What are your thoughts/experiences if any comparing the two?
Does Apollo Twin method = still having gain staging instability; If so, might as well just throw a plugin on a track in the DAW LOL
Does a real analog comp inserted just before the gain staging provide more stable gain staging, helping to preventing clipping when converted from analog to digital? (Its my understanding that analog saturates or distorts, and does not clip, and digital clips and does not saturate leaving squared off edges.)
Sorry for the long drawn out questions, its difficult to describe to the level of detail without explaination…
Keep up the awesome tutorials, my mixing has gotten soooooooooo much better since Ive been wathing your channel!!
Cheers!!!
Recording with plugins is no different than applying the compression after the recording when you mix. This cover the twin apollo thing.
The compressor (or eq or anything else) goes and can only go after the pre because the mic needs the preamp to bring its mic level signal to line level which is the level all outboard works at.
Thanks for the quick response brother!!! I am an electronics engineer, and would certainly like to talk current gear technology, and what you would like to see developed!
To respond to your response LOL:
I read what I typed, and can see how it wasn't very clear… I guess what I meant was:
I agree with you regarding comping on the way in… As long as the comping is in the analog domain, and before the Analog to Digital Converter;
The reason is:
That clipping occurs in the digital domain, and compressing the signal before the ADC is more forgiving when the signal peaks out…. And given that the preamp is 100% true analog signal, you wont get clipping, if anything you will get some saturation which isnt such a turd to the ear compared to digital clipping LOL!
All said, I have been working on a preamp design which has Class A Push-Pull circuitry built right in to gain stage circuits.
If there was such a thing you would certainly already, I figured you would know about it already.
Is there such a preamp?
I am curious as to wether all preamp inserts utilize the same circuitry (after the gain boost stage). If not, then I think my design could be useful. I don't have a prototype other than what Ive built on breadboards. But it did work decently when I employed several gain stages with push-pull inserts in between each gain stage; Basically I am trying to use only three gain stages, 2 in series boosting by half, and the 3rd and final stage possibly being for a final phase correction just prior to the Analog To Digital Converter…
So in short:
Basically I want the final product to be automatic gain stage correction, and I am considering adding a clip detector just after the A to D Converter which would send feedback to the preamp circuits for self correction; The user would simply select what they want the gain range to be set to, and the preamp would keep it there.
If I get it going on a low-noise PCB, perhaps I can send to you to test it out and provide some feedback; If your down with that, hit me up!
I love using a Pultec eq on the way in. Compression too.
What are your Pultec settings? And what compressor do you use?
Excellent tutorial!!
back in the day we used to feed the singer a monitor mix with gobs of compression and reverb but recorded hot and dry. i guess things haven't changed except i don't get the need to record with the compression as well unless there is a 'hiss issue' and you need to boost the entire level to drown it out but that's never an issue these days..
I was looking for an answer to this question, to use or not to use compression while recording my vocals. Great insight and logical answer, it's much appreciated. By the way is the compression added only to the headphone mix while recording?
Yes, the headphone mix is very important and is very common to have a dedicated compressor, fx just for that.
Wow... awesome video, very clearly explained, thanks so much for sharing your experienced insights, you got my subscription straight away! I just have a small recording set up at home for my own music, at the moment i'm using a Tascam Model 24 for tracking, it's a hybrid analogue/digital desk that has onboard compression on 12 it's channels so i use this basic compression to compress on the way in... but I think it's time for me to upgrade and get an outboard compressor for this purpose... Obviously i'm always on a budget, so am thinking of getting a relatively cheap unit, around €300/400 or so...something like the ART Pro VLA II, or the Klark Teknik 76-KT, or the FMR Audio RNLA 7239... would you recommend any of them, or is there any other sort of budget compressor that you could recommend? Many thanks again! :)
This guy speaks facts
Great question...thanks for the explanation...cheers
Awesome video David.
Can you explain the "side chain" part? if you can give some examples and how to set it up 🤗 thank you
this is great info, thank you
Thanks for the valuable info David. I have been told in other sessions, that it is not good to compress hard the way in and alternatively use gain automation after it has been recorded. With this session, I just hear the opposite. Secondly, I had been told it is better to use 2 comps doing the job in a subtle way instead of having 1 doing it the heavy way ? It makes it difficult to choose a manner when hearing different opinions. At the end, the best way is to try several sessions, with different manners and pick the best out of them in the mix.
Hey thanks for this video ! I was wondering you said an attack of 10-20 ms but how is it possible on the 1176 / Mimas? Thanks :)
I like this. Especially since I have done this already before I knew anything about mixing. When I was singing it sounded better if I tracked with a compressor on the way in, at least when I do growls, I used to just slap on a compressor and push it very hard. I also did the same when I did whispery voiced and stuf, but that was because I could hear myself better when it was compressor to the ground, and it also brought up more details. But then I got into mixing and saw that a lot of Mixing RUclipsrs told me to be more subtle and just controll the peaks on tne way in, and be more aggressive after wards
But I performed better with the heavier compression. I also never really was a fan of the stepping back and forth thing that you talked about. I prefer to do what feels best to do
I like your video's because you often have an artist mix approach instead of the typical everything needs to be correct egineery approach
nice i will try the same (with other effects not neccessarily comps) with virtual instruments that i record in via midi so i can get the right feeling and have to edit the midi notes less, thanks david
This is helpful. I am planning to buy a mic for vocal recording only on karaoke tracks (Smule app) . Should buy the Apogee HypeMic, which has an in-built compression or should I buy a better mic such as Rode NTK or Neumann TLM 102, which are considered good mics but don't have compression feature?
Think this, all the records you heard until now, they were recorded with normal mics without a compressor built in. Now, with that said, maybe that mic is amazing, I've never tried it so take my words with a grain of salt, and apogee makes great product but I've never even heard they also made microphones. If you want to be safe, get a good mic, Vanguard labs also has amazing mics around the price range you're looking at, and then get an FMR RNC as compressor if you want one.
If im not mistaking the DBX is a VCA compresor...
Came into the comments section just for this. Ditto.
Great video as always. Do you record/mix at high sample rates?
Thanks. Have you ever had any issues with time-stretching or pitching? I see people posting about higher res having better quality for that. I'm assuming your clients probably don't need much of either.
Can we get a video of you hooking up gear for a good recording signal in how to set unity gain
Ok. You need Questions? Here is one: What do you think about Monitoring Vocals trough your Interface with Headphones where you have still a Latency about some Samples (even when the Manufacture says Direct-Monitoring? My Experience is, that it can happen, that the Singer(in) intonate flat or sharp. Because he/re hear his own Voice over hes Bones, and one more time over the Latency afficted Interface over the Headphones?
Do you recommend those kali monitors or the newer version to mix vocals?
A sore subject)) Can you tell me which DBX devices are suitable for tracking rap vocals ? thanks !!
160A
@@mixbustv Thanks champ !!
When will the Ultimate Guide on compressors be out?
out already
MixbusTv I looked for it and can’t find it! Have you got a link?
Found it. 👍
Interesting frame of mind here. 🤔
Hey David as usual great information. I do have a question regarding tracking vocals with compression. Do I track with parallel compression i.e BLEND knob on 100% 50% 25% etc.. or do I leave it off and just use the normal compression without the blend knob? Thanks you
Just like the SSL channel (plugin) that comes with HP filter post-compression by default, Do you prefer aplying them pre or post? I think the best way is Pre (because of pops or noises like that) but I don't know if there's any case where it would be better to use it in post.
Thank you for all this great information David! Loving this channel.
Filters are always the first thing, can't think of any situation in which you'd want them after, aside some specific piece of gear that can create unwanted content down low or high
I use compressors at tracking. I agree that the singer should protect their voice with compression. They perform better and use their voice to create color not volume. I don't, however, print the compression. Everyone hears the same compression on the way in and in playback. I add the final compression at mix. This may or may not be the best choice. It is just how I prefer to work.
Can’t you just put the compressor only for monitor and change it later for your liking?
Thank you so much for sharing your knowledge freely...Here's my question- is izotope's tonal balance control a reliable tool for checking your mix balances..especially if you don't have a well treated room and you have smaller monitors and can't hear the low end
You can do the same thing with plugins and get both of both worlds just keep preamp gain low so the maximum like -6 db will be the loudest singing part ,check it before recording
I use an gap pre73 with input and output i can add color without gain ,the noise floor is low enough so you get very little noise even if the mic is recorded with lower gain
Great show by the way,watch your videos all the time
Did u do a video on how "to make mix wider" ?
Thx for the advice dave and good question.!👍🏼maan, maybe i missed it but where did u buy the lights in the background that reacts to audio??
Me like it!!!
Thx 👍🏼👀
Wow. thanks for the great info! When you mentioned for ballads and such that you prefer to use Optos for tracking on the way in.. is that in combination with a Fet or do you choose one or the other? I'm also guessing rock vocals would get the same treatment as rap (fet?). Thanks!
These are very generic examples I'm doing to help people who can't audition and try things. The truth is you never know what's going to work on a given vocals, after a while you just guess right because you have enough experience. But Usually if I'm tracking with an opto or a MU I'll mix with a Distressor, or an blue stripe sometimes. For more aggressive vocals, I could very well track with either a 76 or a Distressor and mix with another one of the same
@@mixbustv Thanks!
Absolutely right.
so you put a compressor on the vocals.......and what do you sidechain the compressor with? you can sidechain to your own track that you're editing i'm really confused about sidechaining now
Hi David i’ve been recording a cuban dancehall pop type of singer and im also recording lots of drill, hard hitting rap guys. Ive recently bought the warm audio 76, do you have any safe attack and release settings or starting points for these type of situations?
If all sound engineers would be like you, I could’ve avoid unnecessary frustrations and stay focused on the performance more than controlling the volume of my voice.
All the best
Then hire me lol
Fantastic video, learned a lot from your explanation. I am an opera singer, Tenor and do my own recordings at home using a Apollo x4 charteroak mic and own the UAD plug ins, fabfilter. I recently bought the avalon and it has a compressor and EQ..till now Ive been using the vocal preset that Avalon put in the list which is fast attack and fast release tres is 4 - would you change the settings for an opera singer on the way in? I compress around 3 Db on the loudest parts there I am pretty good in controlling my dynamic in singing. I also recently bought the UAD Neve 33609/C because I was told it is good for recording voices like mine and operatic music..love to hear your ideas - PS I use 2 track orchestra tracks or piano..Thanks in advance
Avalon (I assume the 737) it's a fairly slow opto compressor, so even at fast settings, it's a pretty safe bet for your style of singing, especially if you're compressing that little, for me it would be too slow for pretty much anything else when tracking. The eq is the best part of that unit, you have a solid signal path there with the CO mic.
As far as the 33609, you mean the plugin? despite the marketing, "recording" with a plugin is not really possible, meaning, it's no different than applying it after recording, so first, I'd leave it for that.
I don't know the plugin, but I have a real 33609, and while it's an amazing compressor, the tone of it is great (altho' you're a tenor, even with a fairly transparent path like yours the thickness of that comp could be a hit or miss, again, the hw at least), I wouldn't not associate the behavior with your style to be honest, the settings are very broad and don't allow fine control, it's more a comp you see used in rock for drums, rock vocals, OH, guitars etc.. but if set properly COULD work.
@@mixbustv Good morning, Thank you so much for your fast reply and advice. Yes I have bought the plug ins versions of UAD. Today I will take all your information and work on it in a new way trying all out. Another question I know you could help me with; when I recorded my vocals into a orchestra or piano (classical aria) would you process the vocal in the same way as I see in so many videos people advice vocals to be treated with all kinds of effect plug ins ect like delay, even I see effect used on them - when I do that it doesn't really sound like my opera voice anymore. I have no idea how they process operatic voices in these big studios - I only see they use 2 mics as a stereo effect or a widening effect I guess..but, when I mix and treat the vocal what would be your advice? to keep it as natural possible by only using some EQ and compression and reverb? I own the capital chambers as reverb also from UAD..
David! I pulled the trigger! Got the Waves combo! (Abbey Road Saturator plus the other ones). Also have the CLA 76. I'm mostly concerned about vocals, as you can tell. I can choose a free 29 bucks plugin (out of 150!). Which one should I get? Like the absolute most? :P (Cobalt Saphira? :P Aphex Vintage Exciter? I am a total Waves noob, thanks so much.) Edit: Just tested the API 2500's preset: Lead Vox, wtf! This sounds amazing! Added the Puigtech EQP1A to attenuate a little bit the highs... wow, it does what's needed. Compared the same model to the Tracks5 (IK Multimedia) and they sound different, specially it's like the Waves one doesn't mess with other frequencies, whereas in some mid lows get changed with the Tracks5. I didn't know Waves really put effort into their plugins. If I only knew then.... I am scratching my head right now...
@@mixbustv Thanks so much David. You have expensive tastes! :P The 550B and the SSL are 34 not 29 :( So I can't pick them as my free option from the bundle. Maxx Bass is useful for vocals or just bass in general? Forgive my ignorance :P
@@mixbustv Awesome thanks so much, sorry David, go to sleep! :P
Have you ever learned pedagogy? Because you sure sound like you have pedagogic skills! It is always so easy to understand what you are teaching us. But can I ask you this: for Bellas's voice, what mic do you use when recording her and what is your tracking chain (hardware and/or software) for Bellas's voice? I collect microphones and love my Neumann u87 but my favorite is maybe the Neumann U89i from the 80’s. But I also use a very clean Røde mic. And I also have to mention a mic from the 50s from Electro-Voice. Thank you again for sharing your high level of knowledge! Kindest reg from Ole Marcus 🇳🇴 🙏🙇♂️😃🤙
Ps. I love Israel btw. Been there on holiday and the people were so nice, helpful and sympathetic/friendly! Can't wait to go there again! ❤️ (You do live in Israel right? If not please scratch the last sentence so I don't portrait myself as a total fool! lol). 😊😂
MixbusTV Oh David! thank you so much for the nice reply! You, are always so nice to me when I ask you questions. Thx for that!! Sorry for imagining you living in Israel. I have no idea why I thought that but I did. Haha 🙈. And so extremely cool that you used the 89. I rarely see that mic here in other studios in Norway. But I feel it is a little bit brighter than the 87. Do you feel the same? And guess what, I got it for free from the Norwegian broadcasting company when they moved some studios. I'll stop bothering you now but I am so thankful for your answer. You're really a great guy! Maybe I'll buy some studio time with you next time I'm in LA😊👍 Would have been an honor to meet you in person! Don't worry, I'm not a stalker or weirdo. But being respectful and nice to other people has helped me a lot in the music business world and in life in general. Namaste 🙏
where do we put compreesor while recording vocals....Do we put in in the vocal track where we put pluginss whilee mixing???
While recording vocals you put it after the preamp, with a cable.
Watched this yesterday, but came back because I'd forgotten to like - and I normally do, just for the support factor. But watching again, damn, you got me thinking, I've only ever had the option of using the limited compression functionality on my old Focusrite Trackmaster Pro, and it's just not good enough. In fact I've stopped using this channel strip because it seems to have intermittent faults. Do you have knowledge or views on the dbx 560A? Or, maybe a suggestion for any other good comp around the £200 (£265 USD) mark? Edit: Just rewatched earlier vid 'Top 10 Cheapest Hardware Compressors you can buy', So the FMR Audio stuff looks good. I better watch the dedicated video
@@mixbustv Appreciate the reply, bro. It'll be a new year purchase methinks! I just splashed out on an Audient ASP880 and few smaller items. Looking forward to playing with that for a while. Only one thing troubling me: The shop I ordered from have sent it DHL (Dan, dan, Daaaaaannnnnnnnn!!!!!!) Wish me luck :-)
I'm distracted by that light ladder thingy on the right. What is that?
One question...
How u keep consistent lowend true the hole mix?
Do you ever cascade fet and opto while tracking vocals?
@@mixbustv When you do it, do you first catch the peaks with a FET and then compress with Opto or the other way around?
Hi David
« You don’t eq if not for filters » does that mean you sometimes could use the low cut filter on a U87 or similar mic ? (in pop / rap style)
thanks !
hOLA, Tienes razón. Pero muchos ingenieros no quieren poner un compresor al grabar la voz por aquello de que aumenta la ssss.
How about using a plugin compressor if you don't have a hardware unit? Why no VCA on vox going in?
How about using a software compressor on the input going in for track, any you prefer
You can't track with plugins. Plugins are, by definition, digital. A signal coming from a mic or an instrument is analog, therefore, it needs to be converted (analog to digital) before a plugin can process that signal. The signal has been tracked already, it makes no different if you putting it while tracking or later on in mixing, zero. To track with any processing you need hardware and it needs to be BEFORE the AD conversion. It's basic signal path and physics
@@mixbustv cool Appreciate it, i will look for an hardware compressor. Thanks again
Well trying to record anything except for guitars and keyboards is very hard without a compressor
Besides performance...would you rather use a Plug-in Comp or hardware Comp?
I have 14 hardware compressor, what would you say? :D
@@mixbustv Hardware!
I've seen older videos where you show how hard you go on acoustic treatment (maybe an old studio). As a mixing engineer, do you lean more heavily on absorption or diffusion? Or a balance of both? I realize this topic is situational depending on the room- but generally speaking, do you prefer a more live or more controlled/dead environment while mixing?
MixbusTV
So I figured I'd look up "sound refraction" before replying- and it's kinda blowing my mind. How do you achieve refraction in a studio? Like, simply with certain surface types or is there specific math involved? And I hear what you're saying about diffusion over bass trap combos- bc of course, I am in fact in a smaller room.
Do you ever or have you ever explored trying to tune low end absorption by way of things like helmholtz resonators? I wouldn't try it myself until I could pinpoint what frequencies to target- but do you?
Just curious. Thanks!
MixbusTV
Lol! Amen.
Thanks for the replies. I love the channel- I've learned a lot.
Where would you split the signal, to have a compressed and a clean version? Before the preamp, and use 2 preamps, or after?
MixbusTV as long as only one preamp supplies 48V, then all is well splitting and going into 2 preamps. But, my question about how you do it was answered. Thanks. 😎
💯🔥🔥🔥
to simulate this in the box. Can we record to an aux track while loading a compressor plugin of choice on the live track feeding the aux track the compressed signal?
What about a singer who doesn't want to hear his or her own voice through the headphones; just the backing track? I know when I record my own vocals, I just want to hear the backing track in mono through my left ear, while I leave my right ear uncovered so I can hear my voice naturally in the air. Hearing myself through the headphones tends to throw me off with time and especially pitch. (I have enough trouble staying in key as is.)
In 20 years of engineering I've never encountered this. Learn something new everyday.
DO you find using hardware on the way in is bad for Modeling Mics? I have a Bad Sphere and am trying to figure out to use some of my outboard gear( Manley Voxbox and Aurora GTC2) thanks!
No, why? If the modeling is done correctly it shouldn't affect at all
@@mixbustv ok, my main concern is that it would put the microphone after the preamp? Also that the uad sphere dlx is a stereo mic so maybe you would have to use the same exact settings? I’m not sure just asking. Your channel has been game changing for me btw. Thank you 🙏
waassa my man tried loads of difrent ways for singing live and not feeling the compression.
feel i cant sing with it live i lose my tone a bit ...what would you recomend what aproach or something
💯
Tracking trap vocals on the Mike E with a 4:1 ratio, .9ms attack 100ms release about 3 db of reduction. Would you say that attack is too fast? Would backing it off to 8ms make more sense for this style
I'd say 3db of reduction is very little but with an attack that fast it can make sense, but it all depends on the vocal and what you want to get by compressing on the way in, trap vocals with a very fast pattern can benefit from this especially if the rapper doesn't really pay attention to his dynamic (which usually don't) just make sure you're not chocking the performance and making it dull, you can control peaks in post, harder to do the opposite
@@mixbustv thanks that makes sense 🤘🏾. Ill experiment some more with the slower attack times. 8ms just seems slow and im afraid it will end up too '"jumpy".
You don't eq vocals on the way in but you do eq vocals in the mix rite?
Yes
@@mixbustv ok I should have assumed.
Is it good to vu meter vocals i can find alot on instruments but not vocals?
I don't find VU metering useful for modern setups, not for music, not for vocals, not for anything else if you are not running a console and tape
Would you use api 2500+ for vocal tracking?
Absolutely, it's actually an amazing vocal comp, I'm sure I used the plugin even on vocals on some of my courses or vids
Does anyone know whether it is possible to use the multiband compressor in Adobe Audition when recording vocals? I often record myself either singing or recording narration but I want to be able to concentrate on the performance rather than having to watch the recording levels to make sure I don't clip. But I can't work out how to get compression when recording, the effect only seems to work on an already recorded wave. Any suggestion for how to do this with Audition would be amazing.
Granted that you don't use a compressor to avoid clipping, you know you need an analog compressor if you want to record with it right?
@@mixbustv No I didn't know you need an analogue compressor in order to record. By analogue compressor I take it you mean a physical, external module that does the compression its self then feeds the compressed signal into the software. I only have Adobe Audition and I know you can add compression and a hard limiter in post production but I was hoping that there would be some way of getting the software to record using these effects. I thought the compressor helps to reduce the level of the loudest parts and brings up the level of the quietest parts producing a recording that is more even in volume throughout the duration of the recording, thus preventing sudden loud peaks which get clipped by the software, hence my use of the word "clipping" but if I am wrong then I am happy to be corrected. Thanks so much for your response.
Why don't you use a compressor plugin instead? You get the sale result and you avoid the risk to mess it up.
I use jst gain reduction for that and it works great!
@@mixbustv ahahah I do not have enough experience with that, so using plugins is a good way of doing that
@@a.z.recordingstudio3928 The point about hitting the pre-amp with a consistent level is important, in this case. If you want an evenly driven pre-amp effect, you have to compress before the pre-amp.
@@Matheus-ly6eu you can't compress before pre-amp.
@@wallyperfilantiguo7835 Well, before *a* pre-amp...
@@mixbustv So, let's say I got some outboards (which I don't), the chain would be MIC->PREAMP->COMP->AUDIOINTERFACE
Am I right?
That's a ouija board on your shirt!! 😂
Be careful that stuff is very dangerous!!👹
You say you compress on the way in for the singer to perform better and I agree but adding a 2A compressor plugin would do the trick no? I do that and I couldn't sing without compression and reverb.
MixbusTV I can see! I'm thinking about getting the golden age 2A to do that because I spend too much time automating levels and changing gains on some words or even on syllabs in logic. I hope it will give me a more consistant vocal track...
too little view for such good content...
I guess I'm a "purist" - I don't like anything on the way in, except with a very loud, extremely dynamic singer, where limiter is a good idea .
I do understand compressing to control the levels for the singer, but why not just do that to their monitor mix, rather than record it? Like reverb, or delay, or other effects that are for the singer's benefit only, I could see compressing their monitor mix.
As for "mic technique," most experienced singers seem to do that instinctively, so I wouldn't want compression to give them an inaccurate impression of their levels. However, since a rapper isn't really a singer, and is unlikely to use mic technique, compressing their monitor mix AND the recorded signal might be a good idea. Likewise with that type of metal with the screaming/growling/gagging thing, or whatever they're trying to do. Those guys all eat the microphone so it sounds like they're screaming even if they're not, so if I ever had to record a vocalist like that, compressing the fuck out of it on the way in is probably a good idea. :-D
@@mixbustv I feel like I insulted you in some way, which I did not intend to do. I'm sorry if I came of as criticizung you, because I wasn't. There are no rules when it comes to creating, right?
First of all, to clarify, I never use a limiter going in either, because like you said, we shouldn't be recording anywhere near clipping. I only mentioned that because over the years I've learned that it's not uncommon for engineers to do that.
The main point of my wordy response was that if the main reason to compress on the way in was for the singer's benefit, why not just do it in their monitor mix? But you answered that, so I understand that it also saves you time in the mixing process. That makes perfect sense to me, and I may even try it myself. :-)
Regarding mic technique, I am going to disagree with you. I've worked with a lot of singers over many years, and I can say that indeed, most of them naturally back away for the louder, higher notes, and move in for the softer parts.
I have never worked with any rappers. I don't like most of it, so I probably wouldn't be the best choice to engineer or produce it. But I would never argue that rock singers are among the best in history, since all my favorite singers are rock singers, going all the way back to rock's roots, like Little Richard. As for metal, that's not a very precicely defined genre - at what point does hard rock become metal? I don't pay much attention to genre, because for me it's all about songwriting and composition. The only metal I can't take very seriously the kind where the vocalist does nothing but scream atonally into the microphone. I recorded a band like that, and the singer's lips were right up to the microphone the whole time, i.e., "eating the mic."
But "to each his own," as they say, There is nothing wrong or right about musical taste, it's entirely a matter of opinion, so there's nothing to argue about.
I like your videos. I watch most of them when they come up on my RUclips feed, and I often learn something new. So thanks!