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Post by niklas1073 on Sept 18, 2024 14:07:48 GMT -6
1176 shaving transients off into LA2a to mangle it. But I've noticed lately using one comp. and pushing it harder and like the outcome just as much with less to keep track on. That’s my thing…I don’t know if I can really tell the difference. Was mixing vocals today which I tracked a week ago. Used only IGS OneLa comp on the way in hitting 3-5db. Solid tracks. Kissed it with a 1176 plug to even it out further but mostly to give it some edge bringing it forth in a dense mix. In a singer songwriter context it would have been done with the one comp. |
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Post by robschnapf on Sept 18, 2024 19:45:54 GMT -6
Hardware all the way.
The peak limiting is to keep the opto parked taking 3db off.
Never crushing it.
Layers of transparent ish dynamics control.
I’ll do the same thing mixing with the hardware.
You can get the vocal to sit in the mix without sounding crushed or needing crazy rides.
Works pretty good….
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Post by theshea on Sept 18, 2024 23:11:18 GMT -6
My favorite ITB is the UAD 1176 Blue Stripe on Bones Howe (12:1, AT 6, RL 7) doing 5 db GR on peaks into the UAD LA-2a (gray or LA-2 depending on which fits the track better, the latter is thicker and more saturated) with the needle just barely moving most of the time, 2-3 GR max on the loudest peaks. There's something about those two together that's just magic. They're in a sweet spot where a good vocal recording retains the life/cut while keeping the dynamics controlled. To me it sounds like classic rock, which I know might not be the sound everyone is going for, but that's usually the internal reference in my head. I've tried that fast-slow combination with other VSTs and none of them seem to nail the control-tone combination in the same way as the UADs. never tried 12:1 on vocals, 4:1 or 8:1 or all buttons in (as an effect). will try 12:1. |
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Post by iamasound on Sept 19, 2024 20:55:01 GMT -6
Personally love the Squeezebox going in. At a close/local friend's Project Studio!  Chris Is it called Daddy Doesn't Sleep Productions? |
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vazka
New Member
Posts: 7
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Post by vazka on Sept 20, 2024 4:38:19 GMT -6
Been doing this for years and years. Fast peak limiting into opto Distressor into a CL1B 1176 or 610 into LA3A Hi Rob,
I read you track into an Cl1B. Does "Fast peak limiting into opto" come after that? So 3 Comps?
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Post by svart on Sept 20, 2024 6:26:15 GMT -6
I usually use two or more.. I typically nuke the vocals with a hardware compressor on the way in (1176, doing about 10+ GR) and then usually nuke it again in the mix doing about 8dB+ GR. Each BG vocal gets their own compressor on their bus too.
Vocals aren't going anywhere under my watch. 90% of all listeners focus on the vocals first, so you better make them up front and intelligible.
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Post by robschnapf on Sept 20, 2024 12:25:22 GMT -6
Been doing this for years and years. Fast peak limiting into opto Distressor into a CL1B 1176 or 610 into LA3A Hi Rob,
I read you track into an Cl1B. Does "Fast peak limiting into opto" come after that? So 3 Comps?
CL1B is opto So peak limiter into that |
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vazka
New Member
Posts: 7
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Post by vazka on Sept 20, 2024 12:37:36 GMT -6
Hi Rob,
I read you track into an Cl1B. Does "Fast peak limiting into opto" come after that? So 3 Comps?
CL1B is opto So peak limiter into that Thank you. Yes I know, I though you might run the cl1b white tracking and then 1176/cl1b while mixing |
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Post by robschnapf on Sept 20, 2024 12:46:23 GMT -6
Both for both
Or a different combo when mixing depending
What the vibe is.
Combo being peak limiter/opto
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Post by basspro on Sept 20, 2024 13:06:22 GMT -6
I’m going to try 1176 into ACME XLA-3 Opto, something I just never tried. I've tried the 500 series Acme Opto into a 1176, too much IMO.. Also in fast mode it pretty much does what a 1176 does anyway.. I've had success with an 1176 set fast with a 12:1 or 20:1 ratio into the Acme on slow or normal. But yeah, that comp is pretty aggressive compared to most optos. Definitely can't hit it too hard or it will suck the life out of everything. I've never had the pleasure of using the rack mount Opticom, I wonder if it responds similarly? |
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mrcel0
Junior Member
Posts: 88
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Post by mrcel0 on Sept 20, 2024 13:28:17 GMT -6
To those who track with 2 comps, do you find yourself processing further in mix stage with the same hardware or just sticking to plugs atp?
I guess it would depend on the context right?
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Post by thehightenor on Sept 20, 2024 13:37:28 GMT -6
I usually use two or more.. I typically nuke the vocals with a hardware compressor on the way in (1176, doing about 10+ GR) and then usually nuke it again in the mix doing about 8dB+ GR. Each BG vocal gets their own compressor on their bus too. Vocals aren't going anywhere under my watch. 90% of all listeners focus on the vocals first, so you better make them up front and intelligible. .... well that's certainly one approach. And it only works if the singer has a fantastic tone and pitch perfect! |
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Post by thehightenor on Sept 20, 2024 13:39:19 GMT -6
To those who track with 2 comps, do you find yourself processing further in mix stage with the same hardware or just sticking to plugs atp? I guess it would depend on the context right? Now I'm hybrid mixing I'm moving away from tracking with heaps of compression - I don't want to paint myself into a corner. I'm using more parallel compression these days mixing. |
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Post by thehightenor on Sept 20, 2024 16:30:48 GMT -6
To those who track with 2 comps, do you find yourself processing further in mix stage with the same hardware or just sticking to plugs atp? I guess it would depend on the context right? If you intend mixing with only plug-ins then it makes sense to track with hardware compression and a fair amount of it. You’ll get more action out of your plug-ins if you’ve baked in some tone and vibe into you bed tracks. Plug-ins offer precise control - but they’re not so good at adding analog tone and vibe …. for obvious reasons. |
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Post by robschnapf on Sept 20, 2024 16:37:23 GMT -6
Nothing wrong with committing.
That’s what making a record is about.
Collecting performances and commitments.
Or that’s my approach, anyways……..
I’m never doing more then 4:1 in any of these settings.
Keeps the illusion of dynamic range minus lots of compression artifacts(for me).
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Post by Dan on Sept 20, 2024 17:56:20 GMT -6
Both for both Or a different combo when mixing depending What the vibe is. Combo being peak limiter/opto ever try the fix/man mode of the cl1b? attack is 1 ms, initial release is 50ms, second release is what you set it, attack lets you decide when the set slower release takes over which makes it have a controllable auto release. it's cool on the softube plug. hardware is probably better at attacking peaks. i have no idea how anyone would track with it though unless the recorded track is essentially an overdub or a punch in. |
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Post by robschnapf on Sept 20, 2024 18:35:49 GMT -6
Never tried that
I love how fixed sounds
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Post by thehightenor on Sept 21, 2024 0:17:56 GMT -6
Nothing wrong with committing. That’s what making a record is about. Collecting performances and commitments. Or that’s my approach, anyways…….. I’m never doing more then 4:1 in any of these settings. Keeps the illusion of dynamic range minus lots of compression artifacts(for me). Well … it definitely used to be what making a record was all about - we had so few options! Of course today’s technology does lend its self extremely well to a more “in post” approach (film making has gone this way too). So yes, I like the old school “bake it in” approach but I’m also embracing a more creative mix approach too. So many ways to get the work done these days - it’s good to mix it up a bit (no pun intended) |
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Post by drumsound on Sept 21, 2024 11:09:23 GMT -6
Nothing wrong with committing. That’s what making a record is about. Collecting performances and commitments. Or that’s my approach, anyways…….. I’m never doing more then 4:1 in any of these settings. Keeps the illusion of dynamic range minus lots of compression artifacts(for me). Well … it definitely used to be what making a record was all about - we had so few options! Of course today’s technology does lend its self extremely well to a more “in post” approach (film making has gone this way too). So yes, I like the old school “bake it in” approach but I’m also embracing a more creative mix approach too. So many ways to get the work done these days - it’s good to mix it up a bit (no pun intended) One should always have a certain flexibility and go with what it working in the moment. I'm more than happy to commit to sounds, though I start at a pretty pure place. Source>Microphone>Pre>Daw, but the console doesn't have EQ and inserts for nothing!  |
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