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Author Topic: Compression chains  (Read 2716 times)

Joram

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Compression chains
« on: June 12, 2011, 05:56:43 pm »

Recording chains (mic/di>preamp>eq>comp or mic/di>preamp>comp>eq) influence the performance of musicians when recording. Mixing chains alter the sound further. To what extend do you use compression chains? Do you have any specific ideas how to set up a chain or standard combinations?
(Michael B., you're not supposed to explain MBC once again ;-)

musiclab

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Re: Compression chains
« Reply #1 on: June 19, 2011, 11:46:55 am »

I rarely chain compressors together, usually it happens when someone recorded a track at home and they tracked it with out any. If I tracked the project usually that's not necessary.
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Fletcher

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Re: Compression chains
« Reply #2 on: June 23, 2011, 01:11:47 pm »

I've done it on a fairly regular basis... a lot depends on how fast I have to work.  3 compressors each doing a db - db & a half of gain reduction will sound far less intrusive than 1 unit doing 5 or 6db of gain reduction... so if you have the time to set them up properly its often not a bad thing to string a few together.

I hope this is of some assistance.

Peace
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CN Fletcher

mwagener wrote on Sat, 11 September 2004 14:33
We are selling emotions, there are no emotions in a grid


"Recording engineers are an arrogant bunch
If you've spent most of your life with a few thousand dollars worth of musicians in the studio, making a decision every second and a half... and you and  they are going to have to live with it for the rest of your lives, you'll get pretty arrogant too.  It takes a certain amount of balls to do that... something around three"
Malcolm Chisholm

rosshogarth

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Re: Compression chains
« Reply #3 on: June 24, 2011, 11:38:49 am »

ch ch ch chains
chain of fools
not
I always chain or I chain a lot I must say
a tube comp into a fet comp
a fat grabby comp pulling down peaks into a slower mushy comp for tone

Whatever works guys
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Joram

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Re: Compression chains
« Reply #4 on: July 07, 2011, 06:25:08 am »

Thanks so far, guys!

Ward

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Re: Compression chains
« Reply #5 on: July 14, 2011, 09:55:20 am »

I will often use a compressor capable of focused or narrow band compression (like an LA-22) to take down the  hottest transients a couple db at certain frequencies with realatively quick attack + release.  Then patch that into an La-2a or La-3a for that nice slow Urei thing.  This provides a nice smooth effect where the LA-22 smoothes any bumps before hitting the Urei.  If I want to then go farther (ie. that super-compressed vocal sound)  I add a DBX 165 or 160 vu after the Urei set to fast attack/release.  Anything that slips through the slower response time of the Urei is caught by the DBX which then lets go of it as the Urei grabs hold.  By carefully selecting thresholds you can get a nice smooth, even compression all the way up to an absolutely crushed signal with no pumping of breathing. Basically letting each component in the "chain" work to its strengths and not asking one unit to do everything.
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