R/E/P Community

R/E/P => Recording - Engineering & Production => Topic started by: Joram on June 12, 2011, 05:56:43 pm

Title: Compression chains
Post by: Joram 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 ;-)
Title: Re: Compression chains
Post by: musiclab 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.
Title: Re: Compression chains
Post by: Fletcher 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.

Title: Re: Compression chains
Post by: rosshogarth on June 24, 2011, 11:38:49 am
ch ch ch chains
chain of fools
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
Title: Re: Compression chains
Post by: Joram on July 07, 2011, 06:25:08 am
Thanks so far, guys!
Title: Re: Compression chains
Post by: Ward 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.