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Post by skav on Jul 21, 2024 9:26:40 GMT -6
I have a setup that I am happy with. A LDC I consider flexible for many things. Now I am considering either another mic to form a stereo pair, or prioritize a 76//78 style tracking compressor. Budget is enough for 1/2 items.
I am leaning more towrds second mic atm.
One might say that it's up to the individual which route to go, but..
What would you do and why?
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Post by drumsound on Jul 21, 2024 9:34:23 GMT -6
I'd like to know more about what you're doing. Are there clients, or just you? Vocals over MIDI, or live instruments? What style of music?
My instinct is to say a compressor. I like to compress things I like to compress on recording. And I like having the option when it's not something I normally compress, but in the moment, listening to the person/instrument/amp to patch a compressor in.
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Post by tonycamphd on Jul 21, 2024 10:25:26 GMT -6
Imo a Second mic, compressing to disc if you are working itb is a head scratching choice imo, u have limitless instances of compression at the ready in post production, compressing on the way in raises your noise floor, shrinks your dynamic range and locks you into a soon to be multiplied, undoable ratio attack and release time that may not be musically appropriate later on in the mix
A second mic offers you what’s tantamount to a second ear to capture what you hearing while tracking, get another mic
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Post by Dan on Jul 21, 2024 10:31:45 GMT -6
Second mic. You can always get a great plugin or a great workhorse compressor in post. You do not need a noisy 1176 in tracking anymore to try to push the signal onto the tape hot enough to avoid the hiss 🐍
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Post by skav on Jul 24, 2024 9:56:20 GMT -6
Thanks everyone for indirectly pushing me in what I had a feeling is the right direction  |
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Post by skav on Jul 24, 2024 10:00:35 GMT -6
I'd like to know more about what you're doing. Are there clients, or just you? Vocals over MIDI, or live instruments? What style of music? My instinct is to say a compressor. I like to compress things I like to compress on recording. And I like having the option when it's not something I normally compress, but in the moment, listening to the person/instrument/amp to patch a compressor in. Thanks for asking. I know these things matter, I left it out to keep it simple and see what you guys' would do and reasoning, regardless of my work and process. I'd rather not narrow it down, hope you understand But I will say that I record acoustic guitar, for which stereo is a good idea 👍🏻 Thinking about at a 1176 or 1178 (stereo) clone compressor for flexibility in the future. Especially for vocals, I think compressing gently in the way in can enhance it in a favorable way. Maybe even taming some of the acoustic guitar peaks with high attack & release. |
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Post by thehightenor on Jul 24, 2024 10:03:52 GMT -6
I have a setup that I am happy with. A LDC I consider flexible for many things. Now I am considering either another mic to form a stereo pair, or prioritize a 76//78 style tracking compressor. Budget is enough for 1/2 items. I am leaning more towrds second mic atm. One might say that it's up to the individual which route to go, but.. What would you do and why? How much stereo recording do you do? |
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Post by drumsound on Jul 24, 2024 10:24:51 GMT -6
Stereo acoustic is quite nice.
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Post by doubledog on Jul 24, 2024 10:35:04 GMT -6
you also didn't say what your budget was. you might be able to get both.. but depends on what you are looking for (name brand vs functionality, etc.).
I don't ever compress acoustic guitar going in. Just set the levels good. Maybe compress later if it needs it (usually depends on the song). I will do some light compression on vocal if the singer is dynamic. I've got a UA Apollo and I can track in real-time with a compressor plugin BUT that can't prevent an over in the AD converter -- so I prefer to use a hardware outboard compressor on the way in to prevent that kind of thing.
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Post by svart on Jul 24, 2024 13:59:59 GMT -6
I dunno. I do love using my hardware 76 during tracking, especially vocals. It just gets things there faster this way.
But another mic is probably more utilitarian over all.
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Post by andtide on Jul 24, 2024 18:18:56 GMT -6
The use case is ambiguous… but for me I would say a great compressor. Order a couple and return what you don’t enjoy.
I get the idea that there’s no need to commit compression to disc. But I like to have the artist and myself monitor in a way that to me is the most likely mix outcome… especially vocals. So I’ll create a monitor path with an insert- and then lift and shift the patch once keeper tracks have been collected.
I find this to be something missing from the “merits of committing” argument- that in fact NOT LOCKING oneself in certain regards can make life actually more problematic down the line. Also for mic choice. I may like a mic- then change my mind when I patch in some outboard. Or vice versa.
I kinda want to hear what’s likely to be a close sound to the end result from the jump so that each decision forward is much more deliberate. It’s faster.
This mentality could change and has if I’m not producing or the artists doesn’t have a strong vision for sound design.
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