Serial compression

1176-A/Blue, 12:1, 6 attack, 7 release, 5 db GR on peaks.

La2a - needle just barely moving, 2-3 GR max.

UAD for both.  I don’t know about tracking but that’s what I’ve used for mixing sung vocals for a while. Add additional compression, clip gain, and/or riding to taste.

I like it for tracking others, I don’t like it for recording myself, too much risk and not enough reward if I screw it up.

I had good luck recently with the faster, more aggressive compressor second. I was using a Drawmer '69 as basic leveling 2-4 DB medium attack (2) and medium program dependant release(5). That went into a Purple Action grabbing things not tamed but the '69. Fast attack and release. I don't remember the ratio, but it was probably 12:1.

This was vocal tracking, btw

I feel the same about the Vcomp. If the meter is to be believed it can be taking 10+ dbs off easily and these old ears can’t hear the compression. I have a Cranesong Trakker that can compress quite a bit and stay pretty darn transparent.

Cheers,
Geoff

For those using serial compression, can you specify if the serial compression is happening during tracking or half during tracking then the other half during mixdown?

I have a couple 1176 and LA2A hardware (UA and AS). Even with having them, I find that I don't use them both during tracking. Rock songs, it's usually the 1176 and ballads would be the LA2A. I just have a fear of too much compression on the way in. So, a single compressor on the way in but I do use three more on a vocal ITB, in series. None of them doing too much.

After using LA2A's, 1176's, Sta Levels, over decades, these days I track with a BG2 tube comp, because it can compress a lot without any artifacts. Now I have no desire to track with an 1176 or LA2a on vocals.
I never really liked the 1176 to track vocals with. Sta Level is generally incredible, but not great on fast stuff.

Mix time I usually use MJUC / Arbiter / and a final invisible comp like PSP Flare or Koletenov, and even another super fast compressor / clipper at the front of the chain if it is for Rap - or some rock singers.


In the past I rarely had two compressors in a chain when mixing vocals - these days I can have up to 4 comps, as we have so many great compression tools at our disposal. Each comp does a different job, and has a different response and sound.

Could be both. Couple, two, tree on the way in and another on the back end. Some vocals are rambunctious little fellas a need a few smacks to keep em in line.

I always ride the gain when tracking vocals - does that count as one stage of "compression"? After that it goes to the JLM opto which is so smooth i sometimes don't notice it's already doing something. In the mix i do gain automation according to what else is happening in the song at the same time and sometimes another layer of compression...sometimes not. And i still like the stock logic compressor in "boring" mode (no emulation).

Depends on the FET. An 1176 has fast attack but doesn’t release that fast no matter what the manual says because it has an auto release that’s always on to prevent the typical “slam the needle and break the meter” dumb ass from getting themselves into a situation they cannot automate or fader ride their way out of. It holds the audio down on brief peaks if the meter is moving at all making it not a great peak limiter. The VU meter sucks. You pretty much want it not moving hardly at all on an 1176 and fastest release.

A spectrasonics (spectra 1964) complimiter, the limiter part is super fast and there’s a light to see if it’s active. Of course you can easily butcher a take into distortion with one but you can smash peaks quickly and level the audio somewhat.

A daking compressor is even slower than an 1176. Great general compressor, especially on auto, not a great peak limiter for brief peaks. Much harder to ruin your audio with it than with an 1176, complimiter, or a distressor.

More program dependent compressors like faster, more consistent optical compressors (only cl1b lets you control
The automatic response to fit it to the audio but how do you track with that? A maselec or unmodded la4 over compressing can ruin the audio too), advanced vca and pwm auto comps, or modern digital compressors with multiple detectors do not have this and can lock a vocal in place used correctly.

Lately going RS660 -> RS660, pretty strong then super gentle. My Bluey is suddenly super noisy or would try that (gotta figure that noise out).

We don't track with compression. I need options and honestly not expert enough to commit to it on the way in.