you all seem to have an Idea on compressors/Vincos.
My Question is:
I use the Vinco for my Guitar when recording.
You guys always turn the input of vinco to the max.,
or you leave in the middle?
Grretz
D.
This is just an opinion. What do I know.
Changing the input means changing the amount of compression, afaik. So you want to adjust the input and envelope parameters to get the sound you want, THEN adjust the output volume LAST. You probably shouldn't 'leave' the dials anywheres.
Unless you're using Vinco for tracking, when you record - you're better off recording DRY, and adding any effects afterwards, that way you have maximum flexibility.
Last edited by Liquid Len on Tue Jan 02, 2007 2:02 pm, edited 1 time in total.
just to reiterate, make sure audio in on vinco is close to red or in red, ..then adjust input knob on vinco for amount of compression, ..if your level isn't hot going into vinco, u won't get alot of character response
King of Snake wrote:
Compression only works on the dynamics, not on the frequency content.
I'm perfectly able to for instance accentuate the attack of a heavy kickdrum with vinco by turning up the attack and adjusting the input and ratio controls for more or less compression.
btw I don't have the compressor X so I can't comment on whether it is or isn't better than the vinco. I'm sure they're different though.
This is just an opinion.
I know what you're saying, but since different compressors DO sound different, their sound can't be 100% 'accurate'. They will color the sound, often but not always in desirable ways, obviously some people are interested in this aspect, because there is so much vintage effects emulated. Maybe to some ears the bass frequency will be adversely affected in some way, using 1176 compressors, it's possible.
I learned to 'not like' what a UAD 1176 does to kick or bass, yes I know Vinco is made by Creamware but since they're both 1176 emus I'm guessing the way they affect sound is comparable.
well, I hardly dare to mention it, but the STW device is from a time when load distribution over DSP boundaries was overlooked sometimes - there might be a tiny little inaccuracy that turns to an advantage in the lower frequncies...
it's always great when a bug becomes a feature
I don't have CompressorX, so it's somewhat speculative - but the stereo version is said to suffer from this (for obvious reasons this trick is not appreciated there...)
Wired wrote:just to reiterate, make sure audio in on vinco is close to red or in red, ..then adjust input knob on vinco for amount of compression, ..if your level isn't hot going into vinco, u won't get alot of character response
well, you wouldn't want to use it that way for acoustic music....
Are you guys recording with or without compressor.
I personally found it impossibble to record a singer without compressing the signal - but maybe I learn something new - here -on Planet -Z-.
Are you guys recording with or without compressor.
I personally found it impossibble to record a singer without compressing the signal - but maybe I learn something new - here -on Planet -Z-.
i usually don't use a compressor when recording. you can always add compression, but you really can't rermove it.
it's rare that a vocalist, or at least a good vocalist, will have such a huge dynamic range(from a whisper to a scream), that it can't be captured in 24bit. in the case that the piece of music requires a maniacal performance, a limiter is definitely called for......sometimes planning how different sections will be recorded can solve that problem as well or better. sometimes not.
24bit, a really high quality preamp and a good mic are all that's usually required. 24bit allows me to not need as hot a signal for good bit depth. that way i can lower my record levels and not overdrive peaks. a great mic pre will let you hear all the details of the mic. with analog gear, you want as hot a signal as possible to get tape compression. with digital, it's better to record a moderate level and then compress later.
Limiting a (vocalist's) digital recording makes sense only before the converters, to avoid clipping them because...well you know! Compressors and limiters used after the converters, like the scope ones, have no sense at all for recording purposes, because the damage would have been already done. When the recording is done you can find the best settings to enhance the sound the way you like, using dynamic processing as a creative tool and with all the freedom to explore.
