|
|
Post by rowmat on Jun 14, 2016 16:12:53 GMT -6
The Capi 526 and Elysia Envelope together are working pretty well here for that type of work. I also will use the Valley People Dynamite plug for some push and edge. We have a Dynamite (1RU blackface). It's certainly a touchy, quirky beast! Kinda goes from zero to one hundred in the blink of an eye! |
|
|
|
Post by Randge on Jun 14, 2016 18:27:56 GMT -6
The plug kinda does too. I use it as a send for that very reason.
|
|
|
|
Post by EmRR on Jun 15, 2016 10:26:25 GMT -6
526, sure, set the one adustment for max distortion content at idle.
|
|
|
|
Post by mulmany on Jun 15, 2016 19:35:37 GMT -6
Got to throw the FCS Pico 502 in there, at least for shaving peaks and getting out of the way.
|
|
|
|
Post by popmann on Jun 15, 2016 20:31:48 GMT -6
Because the OP is specifically talking about vocal compression...I'd point out that the "opto" IS the limiter you want to use during tracking IME/O to just take a little off the top. so to speak. Unless we're talking about rock where you want "to hear" the compressor move....an La3a on limit will completely naturally "make gone" the top say 1/4 of the dynamic range by setting it to only effect the top 1/3rd. Then, come mix time when you need to sit it up above everything....a full control compressor with a 1.5:1 ratio is what you need--not a "smooth opto".
The limiter is of little use unless it's really dynamic....because the VCA is like running in quicksand. It's gonna hold the level if it's set right.
|
|
|
|
Post by matt on Jun 15, 2016 20:49:06 GMT -6
No clue wtf is going on with soundcloud... I put my last mix up on SC for consumption by my bandmates and SC just destroyed the low end. Destroyed it. So yeah, WTF Soundcloud! |
|
|
|
Post by joseph on Jun 15, 2016 22:26:30 GMT -6
Because the OP is specifically talking about vocal compression...I'd point out that the "opto" IS the limiter you want to use during tracking IME/O to just take a little off the top. so to speak. Unless we're talking about rock where you want "to hear" the compressor move....an La3a on limit will completely naturally "make gone" the top say 1/4 of the dynamic range by setting it to only effect the top 1/3rd. Then, come mix time when you need to sit it up above everything....a full control compressor with a 1.5:1 ratio is what you need--not a "smooth opto". The limiter is of little use unless it's really dynamic....because the VCA is like running in quicksand. It's gonna hold the level if it's set right. I agree about opto tracking, or just riding the fader. But I'm talking the 1176 > LA2A type thing in mixing, just with a more transparent release tone, keeping that sense of openness that you get from Cl1B at -5db or under of GR and still characterful grab and line amp on peak limiter. Same deal with snare and finding sustain without dirtying up the tone. With really dynamic performances, trying to capture that vibe, not work against it. I guess pure automation is another solution, but I'd like to have option of locking down a vocal without killing it. And automation is not going to mellow timbre of a snare transient, so ideally I'd want a little saturation. On your second point, it seems lots of people successfully use an opto while tracking and a VCA compressor like LA-12 or Distressor or even DBX in mixing. Maybe I should explore this more, but I think FET tone is just more complementary to what I'm going for, less neutral or plastic. There are so many good options suggested here but looks like FC526 ticks most of the boxes. |
|
|
|
Post by EmRR on Jun 16, 2016 6:47:26 GMT -6
My FCS comps always get used for tracking, and beat every opto I've tried for vocal transparency at that stage. You know it's been hit too hard when lip smacks and other gutturals are as loud as the vocal itself. If a singer suddenly hammers it to -15, it won't ruin the take and really won't be noticeable in most cases. Being a DBX type, I don't find them fast enough in RMS mode (all the Pico 502 model offers) for the drum transient question, they work more for overall fattening/presence without touching leading edge transients. If you have a model that does non-linear or manual attack/release, you can start to affect the leading edge stuff. In those modes the maximum attack is not as fast as an SSL type VCA, but the release is vastly cleaner/clearer at fast release settings. I have not heard the newer P3EX version which offers faster and more colored sound.
As you've said FC526 does tick most of the boxes for the drum question.
|
|
|
|
Post by spock on Jun 21, 2016 19:42:04 GMT -6
At the top of the range, is the Chandler RS124 fast enough for these kinds of jobs, or does it not pair well with an opto on vocals, for example? Or being a vari mu does it do both jobs well all on its own? Superfuse on the Chandler Limited RS124 is all about that, and while retaining the attack of the transient. However, you'll have to try one to experience it first hand, that's the best way to decide if it's up your alley. |
|
|
|
Post by ChaseUTB on Jun 22, 2016 22:19:58 GMT -6
L1  |
|
|
|
Post by Ward on Jun 23, 2016 6:59:28 GMT -6
L1 With ultra-maximizer, of course. LOL |
|
|
|
Post by joseph on Jul 2, 2016 10:57:17 GMT -6
Funny you guys should mention that.
I've taken to using DMG limitless for all my serious limiting needs, like to push snare down a bit from overheads in loud sections. That is the most transparent limiter I have ever heard, and can be followed by 1.5:1-2:1 bus compression for some glue or harmonic color, with pure limiting needs taken care of first in the chain.
Meanwhile I'll probably get something semi-transparent, fast but flattering tonewise like FC526 for snare and general transient control.
Also been experimenting with the fixed and faster releases on Cl1B, which is more flexible for dynamic singers than I initially thought, without pushing the vocal in your face all the time.
1176 just kinda kills the openness and sense of natural dynamics unless you're really careful about grabbing only 1-2db or resort to automation post compression.
|
|
