Quote: |
I don't think you really get me though. Far from being in a rut or a 'safe' engineer,
|
Not trying to accuse, Bob. Anytime folks say “90% of the time” – I just figure its their own fault. No offense.
Quote: |
I'm more looking for interesting applications, of which you threw out glockenspeil and triangle. Those are intersting, I guess percussion in general like tambourine's would be a very interesting place to try faster times. That is a great suggestion, even as I think about it I am imagining 'pushing' the tambourine back into the mix.
|
Right on. Consider the time constant of the dynamics processor as an envelope shaper. You want suggestions – try “Transient Designer” from SPL, yikes – but not just for fast, either.
Regarding tambourine – kinda depends on the style. I might stretch out the attack time if its one of those “shaking”-type parts as opposed, say, to the regular hip or hand tap that has a very individual start and stop rather than full of RMS. Otherwise, stretch the release time so even the below threshold stuff remains gain reduced to avoid pumping (unless that’s what you seek, again). Once in the situation, that’s where the turning of knobs becomes the requirement, you see.
Quote: |
'Use your ears'...uh, yeah. 'Just turn knobs and do what's cool'...uh, right.
|
Perhaps intended for other readers? Adjustment and experimentation is almost always a good recommendation – gets us outta the “90% of the time" stuff, dig. Don’t take it personal friend, it’s a community.
Quote: |
I also disagree that optical comps 'need not apply' to do fast jobs. The mentioned Tube-tech cl1b does some amazing things to a mono overhead drum mic when dialed faster.
|
Indeed. I guess I shouda said, any device without Attack and Release available (most opticals in my mind) need not apply? I have great respect for TubeTech, though I do not own one. Perhaps you can tell us what comps you have available, otherwise we’re making wish lists, right?
And don’t get me wrong, I love me some opticals – funny how a lamp’s “ramping” can be so natural to our other sense… hearing. Warms my heart, actually.
Quote: |
Your answers about 'whichever is fast, whatever can do it, etc..' uh, yeah. I thought this would be a good subject for people to share some specific settings, not discuss basic philosophy.
|
How’s this for a philosophy: run the tape backwards and set the Release really fast. I can’t help it if you do not like my “answers”?? We’re just talkin’ here.
A “specific” setting is exactly that, and I feel fundamentally derivative to whatever else happens to be going on at the same time. Silver bullets aren’t out there, IME, you gotta notice when a current setting ain’t working and adjust accordingly – sometimes that means patching in something else (or nothing at all – sometimes a fader move is better than ANY dynamics processor, mute or unmute are pretty fast, too).
Again, don’t get me wrong, its not like medium settings on time constants ain’t the way to go – I mean, some of those beasts are on “auto” (program dependant, even – whatever).
I’m also not in a big hurry to have a comp grab a leading edge – in all the live sound I do, I love to have the signal’s attack remain, well, intact. But if its gonna stay loud for long – like maybe a belting singer – roll some o’ that GR in, eh?
Hope you don’t mind if I share. Its why I come here at all.
My belief that "it depends" is exactly that -- a belief.
Quote: |
But definitely thanks for the percussion idea.
|
Not to belabor it, but instantaneous “anything” takes a lotta horsepower from “somewhere”. A triangle is the best example I can think of (short of, say, a click track pulse) with an envelope slope approaching the order of 1 instantaneously. Things like that can really benefit from a “rounding”, if you will – assuming that’s the goal. Otherwise, print it low… right?
I keep going back to your original post, and it mentions mastering. Adding dynamic processing to full program material is significantly different, though, which I am certain you know, Bob – I mean unless it’s a tambourine soloist or something and then we’re back to the same discussion.
Keep it light.