• Welcome to the General Discussion forum for UAD users!

    Please note that this forum is user-run, although we're thrilled to have so much contribution from Drew, Will, and other UA folks!

    Feel free to discuss both UAD and non-UAD related subjects!

    1) Please do not post technical issues here. Please use our UAD Support Forums instead.

    2) Please do not post complaints here. Use the Unrest Forum instead. They have no place in the the General Discussion forum.

    Threads posted in the wrong forum will be moved, so if you don't see your thread here anymore, please look in the correct forum.

    Lastly, please be respectful.

Different compressors in serie on the same chain

TBlizz

Member
With so many great compressors on the UAD-1 these days, who uses more than 1 compressor on some channel strips? Let me know which combinations on different chains work for you.

To start here are some examples for a vocal chain:

  • Use the 1176 on fast attack (fully clockwise), release set to medium (5) and ratio 8:1 or 12:1 just to clip the peaks 4 to 5 dB. Then feed it to an LA2A just for gentle gain riding of 2 to 3dB if possible. This is great for singers, where a single compressor or limiter isn’t enough.

    As an option to the previous trick set one 1176 on fastest attack and a 8:1 ratio, and set the second on a slightly slower attack and a 4:1 ratio. With both set for about 10dB of compression, you’ll have a silky smooth, in-your-face vocal.
The Mixing Engineer’s Handbook 2nd edition by Bobby Owsinski
 

thefool

Active Member
TBlizz said:
The Mixing Engineer’s Handbook 2nd edition by Bobby Owsinski
Just ordered that book, was just looking around for a book more dedicated to mixing. Have learned a lot by Bob Katz's book though, but mixing is another story :)

Thanks for the tip, i'll try to remember it when the UAD cards arrive!
 

thefool

Active Member
djsynchro said:
I always put the limiter AFTER compressor, makes more sense to me that way. What does Mr. Katz say?
Still reading the book (but yet already learned a lot) but yes a (brickwall) limiter at the end of the mastering chain.

It has to catch everything. For example if you place an equalizer AFTER the limiter, even if you do subtractive eq'ing you can actually amplify certain frequenzies..

So the logically correct way to place a limiter, is at the end of a chain unless you look for artistic usages whatever that might be
 

TBlizz

Member
thefool said:
Just ordered that book, was just looking around for a book more dedicated to mixing. Have learned a lot by Bob Katz's book though, but mixing is another story :)
Another great book on mixing is “Mixing with your mind” by Michael Stavrou.

djsynchro said:
I always put the limiter AFTER compressor, makes more sense to me that way. What does Mr. Katz say?
I think the rational is “fast” compressor to catch the peaks and “slow” compressor to smooth it out. I did notice that on this forum the LA2A compressor followed by a LA3A limiter on vocals is very popular in the thread "Your (UAD influenced) vox chain for '08"
 

thefool

Active Member
TBlizz said:
Another great book on mixing is “Mixing with your mind” by Michael Stavrou.
I've been looking at that one too :)
but can only read 2 books at a time if in-depth reading hehe (first round is katz book and then the new one i just ordered)

edit: oops i thought you where talking about mastering, synchro :oops:
 

fader8

Member
There are probably as many vocal processing techniques as there are people who process vocals! But regardless of the dynamics used, quite often I'll notice people setting up their dynamics chain on the vocal channelstrip in addition to having complex vocal automation rides.

There's nothing wrong with this per se, but doing your dynamics processing post-fader gives you a lot more control if you've already automated the hell out of the vox track to keep it alive in the mix. You'll find it sounds better and you don't have to hit the comps nearly as hard.
 

TBlizz

Member
fader8 said:
There are probably as many vocal processing techniques as there are people who process vocals! But regardless of the dynamics used, quite often I'll notice people setting up their dynamics chain on the vocal channelstrip in addition to having complex vocal automation rides.

There's nothing wrong with this per se, but doing your dynamics processing post-fader gives you a lot more control if you've already automated the hell out of the vox track to keep it alive in the mix. You'll find it sounds better and you don't have to hit the comps nearly as hard.
I use automation at the end of the mix after inserting eq, compression and fx.

When I watched Shane Wilson’s Guide to Mixing on DVD I was struck by how fast he could get the mix together without a whole lot of automation. Drawing automation in vocal tracks is time-consuming, so the use of 2 compressors to reduce this to a minimum without heavy artifacts would be nice.

Any other tried any tested methods?
 

seanmccoy

Member
Michael Cooper also advocated the two-compressor chain, one fast and one smooth, in an article in EM last summer. He used two Renaissance Compressors in his example, but the 1176-LA2A combo should work even better. Think I'll give that a whack this week.
 

TBlizz

Member
seanmccoy said:
Michael Cooper also advocated the two-compressor chain, one fast and one smooth, in an article in EM last summer. He used two Renaissance Compressors in his example.
Great Tip! I found the article here.

There's also a mention of the Nichols Digital Dynam-izer plug-in. Ah, I know I should have bought this plug-in when it was still in the hands of the original company Elemental Audio and a lot cheaper... :?
 

TBlizz

Member
adl said:
Rob Acid does it too!
Here´s an video (english subs included) where he is talking about Mastering and that he uses often more than one Compressor.
Thank you for that link, a unique approach to mastering. I like that he sometimes uses up to 4 compressors, each with a gain reduction of 0.6 dB tops! Sounds like he’s almost coloring or EQ-ing the sound with compressors in a way the Lord-Alge brothers do as well.

Also a mention of parallel compression, which has been around for a while now. I’d still like to hear some more about serial compression. Fairchild 660, UREI 1176, LA2A, LA3A and now the dbx 160VU; which combinations would work well for bass, vocals, acoustic guitars or electric guitars for example?
 

TBlizz

Member
Vocals

\"For intimate performances, I like to use the U47 tube with a great deal of compression, usually two compressors ganged up, an LA2A with an 1176 or an RCA BA6A compressor with the UA175.\"

Sylvia Massy Shivy
(Page 302) Behind the Glass: Top Record Producers Tell How They Craft the Hits
by Howard Massey
 
UAD Bundle Month
Top