Input compression on vocals

[JD01]

Only worked out how to do this a couple of weeks ago.
I've been generally using a fast 5:1 to just get a few db of gain reduction to level things about a bit...

However, when I started recording the other day my preamp gain was up high cos I'd been podcasting so when I started on the vocals I ended up getting more like a continuous 10-15 db of gain reduction.

Any drawbacks of this cos I actually quite liked the effect? Means I have to redo another large portion of the song cos they now have a totally different character but that's fine, I'm in no hurry to complete anything.

[Greg_L]

You have a hardware compressor?

[JD01]

You have a hardware compressor?

No. Focusrite Red3 on input

[Greg_L]

No. Focusrite Red3 on input

How does that compress the input?

[Bubba]

No. Focusrite Red3 on input

How does that compress the input?

It basically does some preliminary volume levelling on the way in. You can let yourself go a little more in the performance without having enormously peaky tracking. Then you can compress as normal in the mixing section.

I use a fairly fast attack and release, about 3:1 to 5:1 compression and the threshold needle set to squash the peakiest parts.

When you arm your track to record, you add it to the "Input FX" section.

[Bubba]

Only worked out how to do this a couple of weeks ago.
I've been generally using a fast 5:1 to just get a few db of gain reduction to level things about a bit...

However, when I started recording the other day my preamp gain was up high cos I'd been podcasting so when I started on the vocals I ended up getting more like a continuous 10-15 db of gain reduction.

Any drawbacks of this cos I actually quite liked the effect? Means I have to redo another large portion of the song cos they now have a totally different character but that's fine, I'm in no hurry to complete anything.

There are no rules, only guidelines. If you like it, work on it. That is an enormous amount of gain reduction, though.

[Greg_L]

It basically does some preliminary volume levelling on the way in. You can let yourself go a little more in the performance without having enormously peaky tracking. Then you can compress as normal in the mixing section.

I use a fairly fast attack and release, about 3:1 to 5:1 compression and the threshold needle set to squash the peakiest parts.

When you arm your track to record, you add it to the "Input FX" section.

It applies this compression to the take and prints it into the track in real time, like a hardware compressor?

[Bubba]

It applies this compression to the take and prints it into the track in real time, like a hardware compressor?

Exactly that. The Focusrite Red3 compressor plugin models their hardware version pretty faithfully. It comes as a freebie with their interfaces, but it's actually pretty expensive to buy.

You could actually use any compressor plugin to do the same thing in that position, but this one is particularly good. It's not hard like an 1176. It's really smooth and transparent.

[Greg_L]

Exactly that. The Focusrite Red3 compressor plugin models their hardware version pretty faithfully. It comes as a freebie with their interfaces, but it's actually pretty expensive to buy.

You could actually use any compressor plugin to do the same thing in that position, but this one is particularly good. It's not hard like an 1176. It's really smooth and transparent.

Interesting. I have a Focusrite and have downloaded exactly zero of their plug ins.

I need to see how to do this with other plugs.

[Bubba]

It comes as a freebie with their interfaces, but it's actually pretty expensive to buy.

Update: You can get that and the mastering EQ for a few dollars, now!

[Bubba]

Exactly that. The Focusrite Red3 compressor plugin models their hardware version pretty faithfully. It comes as a freebie with their interfaces, but it's actually pretty expensive to buy.

You could actually use any compressor plugin to do the same thing in that position, but this one is particularly good. It's not hard like an 1176. It's really smooth and transparent.

Interesting. I have a Focusrite and have downloaded exactly zero of their plug ins.

I need to see how to do this with other plugs.

The Scarlett gate is my go-to drum gate. Really intuitive and the GUI looks and behaves like hardware.
The Red 3 Comp and Red 2 EQ are absolutely wonderful. They sound great and the GUIs are superbly user-friendly and realistic.

[Greg_L]

The Scarlett gate is my go-to drum gate. Really intuitive and the GUI looks and behaves like hardware.
The Red 3 Comp and Red 2 EQ are absolutely wonderful. They sound great and the GUIs are superbly user-friendly and realistic.

I just redeemed my free Focusrite plugs. It's a couple of compressors. I'll play with them later.

[JD01]

Only worked out how to do this a couple of weeks ago.
I've been generally using a fast 5:1 to just get a few db of gain reduction to level things about a bit...

However, when I started recording the other day my preamp gain was up high cos I'd been podcasting so when I started on the vocals I ended up getting more like a continuous 10-15 db of gain reduction.

Any drawbacks of this cos I actually quite liked the effect? Means I have to redo another large portion of the song cos they now have a totally different character but that's fine, I'm in no hurry to complete anything.

There are no rules, only guidelines. If you like it, work on it. That is an enormous amount of gain reduction, though.

That's what I thought. I'll play with this a bit more tomorrow.

[JD01]

I just redeemed my free Focusrite plugs. It's a couple of compressors. I'll play with them later.

Cool, will be interested to see how you get on with them. I use them cos they're easy to use.
I've never used the Red2 EQ cos I like ReaEQ, but the Red3 compressor has simple clear controls and seems to work well. I don't like the Scarlett compressor quite so much. Dunno why, it may be even the way it looks!

[Bubba]

I just redeemed my free Focusrite plugs. It's a couple of compressors. I'll play with them later.

Cool, will be interested to see how you get on with them. I use them cos they're easy to use.
I've never used the Red2 EQ cos I like ReaEQ, but the Red3 compressor has simple clear controls and seems to work well. I don't like the Scarlett compressor quite so much. Dunno why, it may be even the way it looks!

I use the Red EQ for mastering. It imparts a sheen that you possibly couldn't get any other way.

ReaEQ is the most important plugin of all.

[WhiskeyJack]

I once asked this same question at some point either here or on the last forum we were at and i think it was discussed that while ultimately it is a matter of personal taste in workflow, at the end of the day, there is no real advantage to either method.

The input signal tracked naked and raw can later be compressed in post using a plug in or a send (the way i assume most of us tackle it). Where as if you compress on the way in it thus becomes printed and concrete. And if there is anything weird about it it just get's worse in post to the point you could potentially end up pitching it and retracking. i.e. you have a setting that creates an undesireable pumping vibe to the track etc.

Clearly though the amount you record versus how much i have been doing lately your experience with a comp greatly outweighs mine which circles us back personal preferences / confidence with a compressor.

I figure for me to air on the side of caution and just do it raw /process later after the discussion. My use of a compressor is horrible and i do not want to have my inexperience imprinted on track as a pre comp. I like the ability to adjust in post.

[WhiskeyJack]

ReaEQ is the most important plugin of all.

Preach brother.

[Bubba]

I once asked this same question at some point either here or on the last forum we were at and i think it was discussed that while ultimately it is a matter of personal taste in workflow, at the end of the day, there is no real advantage to either method.

The input signal tracked naked and raw can later be compressed in post using a plug in or a send (the way i assume most of us tackle it). Where as if you compress on the way in it thus becomes printed and concrete. And if there is anything weird about it it just get's worse in post to the point you could potentially end up pitching it and retracking. i.e. you have a setting that creates an undesireable pumping vibe to the track etc.

Clearly though the amount you record versus how much i have been doing lately your experience with a comp greatly outweighs mine which circles us back personal preferences / confidence with a compressor.

I figure for me to air on the side of caution and just do it raw /process later after the discussion. My use of a compressor is horrible and i do not want to have my inexperience imprinted on track as a pre comp. I like the ability to adjust in post.

I understand your reticence, but this isn't like a reverb or a flanger. Think of it more as a well-set-up and sharp try plane on a rough sawn piece of wood. A few strokes with it takes off the high spots, trues it up and makes it level. This has a beneficial effect on your later processing with smoothing plane and sander.

[WhiskeyJack]

I once asked this same question at some point either here or on the last forum we were at and i think it was discussed that while ultimately it is a matter of personal taste in workflow, at the end of the day, there is no real advantage to either method.

The input signal tracked naked and raw can later be compressed in post using a plug in or a send (the way i assume most of us tackle it). Where as if you compress on the way in it thus becomes printed and concrete. And if there is anything weird about it it just get's worse in post to the point you could potentially end up pitching it and retracking. i.e. you have a setting that creates an undesireable pumping vibe to the track etc.

Clearly though the amount you record versus how much i have been doing lately your experience with a comp greatly outweighs mine which circles us back personal preferences / confidence with a compressor.

I figure for me to air on the side of caution and just do it raw /process later after the discussion. My use of a compressor is horrible and i do not want to have my inexperience imprinted on track as a pre comp. I like the ability to adjust in post.

I understand your reticence, but this isn't like a reverb or a flanger. Think of it more as a well-set-up and sharp try plane on a rough sawn piece of wood. A few strokes with it takes off the high spots, trues it up and makes it level. This has a beneficial effect on your later processing with smoothing plane and sander.

Totally get that Bubbs. Very good way of explaining it to me. I just don't trust myself with it enough haha. I'd mangle everything on the way in before mangling it afterwards

My initial query back in the day was when i I tried it on some acoustic guitar stuff. I had read about input compression being a handy time saving thing and i found i was forever going back and retracking and mucking with comp settings when it hit me that i can just be doing all that in post with a raw guitar, why waste my precious time to track live mussing about with comp settings. So that was when i posed the question to others.

So how do you guys apply it then? You just use a very slight bit of comp to trim the pubes off and then carry on manicuring later? Meaning you don't compress on the way in with the intent to not do more later? And only on vocals? Would you try it on any instruments or anything?

[Bubba]

So how do you guys apply it then? You just use a very slight bit of comp to trim the pubes off and then carry on manicuring later? Meaning you don't compress on the way in with the intent to not do more later? And only on vocals? Would you try it on any instruments or anything?

Yes, exactly right. The intent is to do more careful compression in later production. I mentioned the kind of settings I use a bit earlier in the thread.

I use it on bass as well, because that's also a terrifically dynamic instrument, but I don't use it on guitars or drums or anything else, really.