Recording Vocals with Compression

[PlasticMoonRain]

I'm a newbie, so pardon if this has been covered.

I want to record vocals directly into my Cubase SX3 run on a Mac G5. I want to compress the vocals lightly as they are recorded, probably with the LA-2A.

It would seem to make sense to make the LA-2A as an insert, but this still won't actually record the vocals in compressed form.

So how can I do this, if at all? Or do I have to compress the vocals after they are recorded?


THANKS.


Drew

 

[Holly]

When you put the compressor in your input channel, all the FX will be recorded with the signal. Seems like you tried it on the audio channel. This doesn't work.
But why do you want to compress the vocals while recording? You still can do it later in the mix. Also, the UAD compressors introduce additional latency to your signal (matters depending on how you monitor it).

Holly

 

[sameti]

Hi Drew
I never use LA2A for compression while recording. Important to not compress to much, but just some. And later on, you can compress more. In my opinion, a compressor like LA2A is assum in mixing, but a more spesific compressor are better for the recording of vocal... If u compress to much while recording, or doing it wrong, u cant change it later on... So do it lightly

I compress in my mixer while recording, but when i did in uad-1, it worked fine in audio mixer, as i can remember. But I use Nuendo, and maybe its different from other Daw.

sameti

 

[.mr chris]

what Holly said. (-> latency... not possible to undo)

*here* always recording \"dry\" then fx.

Cheers,
.chris

 

[Ashermusic]

This is one of the few things I still do in hardware. My M-Audio Tampa has an optical compressor which I use very lightly. I get a nice clean vocal that does not sound compressed to work with in Logic.

 

[Dragon_Huang]

I use a TL audio 5021 Compressor in a real world...

the Flow is Micpre--> 5021 --> MOTU HD 192 ...

but it's just a small compress value, to keep the Vocal signal not Clip

before into HD192.

If I want a hard Compressed feel for my Voc...

I Use 1176LN (UAD-1) to Compressed in software again...

just my 2 cents

 

[Soundawg]

There is only one way to compress on the way into your DAW... and that is before it gets there (hardware). Once the sound hits the AD convertor there is no reason whatsoever to effect the sound untill the final mix. I guess one could argue that it is a way to save on DSP later on, but a simple bounce could happen anytime to facilitate the same thing. Taming the vocal a bit can help you with levels while recording, but keep in mind it will change the sound of the vocalist and it might also change the performance - because of the interaction with the compressor, (eg-a guitarist will treat their guitar differently depending on the sound they are playing through) whether or not this is a good or bad thing is up to you AND the performer. As far as which compressor to use? Let the debates continue - as the answer is different for every situation. The most help you can give yourself is to rent a pile of them and see how they react to a pre-recorded piece of audio, (try this with vocals, and as many other instruments as possible). Once you've had a chance to A/B the resulting effected audio you will be able to make a self iformed decision based on what YOU like, and what the perfomance requires.

 

[Hannan Audio]

i love my pair of distressors for tracking, and i can never go past an 1176 on a bass input :lol: ....but as Soundwag said....compressing during tracking for an EFFECT is really only possible BEFORE the signal hits the ADC....

a common sig chain for a vocal might be mic > pre/EQ > compressor > converter > DAW...

the general idea is to smooth the signals peaks out a little BEFORE it hits the ADC, so as not to sacrifice decent RMS in the name of a fet bit T's and S's etc etc

interesting results can be had depending where the EQ and comp are in relation to each other

But remember - this is one situation where MOST of the time, if you are going down the path of a \"nice\" or \"normal\" vocal = less is more...

if u wanna make stuff freaked out then push as hard as u like

hope this helps

Sam

 

[Jeraz]

Well, you can compress going in if you can do it with certain DSP cards. The E-MU PatchMix + any of the E-MU cards, you can put the DSP compressor before the ASIO, and actually compress going in.

The ONLY advantage to this, as far as I can see, is if you are recording live, and have a singer that just can't keep their mouth aligned with the Mic, so you might get some initial compression advantage going in with gentle compression.

But the E-MU DSP compressors don't sound that great, and only work at 44.1 and 48...so...I agree with the others...unless you have a GREAT outboard channel strip or outboard compressor to work with, and really need it, I would compress after.

 

[Eric Dahlberg]

Even with the E-mu compressor, it's still being introduced after the signal has gone digital so there's really no benefit to recording with it on. The E-mu M series has such low noise converters that dynamic range isn't an issue at 24-bit, anyway.

 

[Michael]

Personally I would just use a limiter . Just to catch any signal that would overload the converter .

 

[Middleman]

An inexpensive limiter or compressor i.e. RNC, DBX 160x or similar can provide that little bit of control going into the box. For color you can use a plug in latter.

That is unless you have the money. Then a real 1176 or LA2A is not a bad thing going into a DAW.

 

[Jason Poff]

What's missing in this thread is the fact that if the vocalist can hear the compression in the cue mix it will inevitably alter the recorded track whether or not the compression is recorded. Sometimes this can be a great thing with a good vocalist who can \"play\" the compression. Sometimes the results are horrible because the vocalist is fighting the compression and over singing. If I didn't have to deal with latency and was working with a good vocalist, I would record the dry signal but monitor it through an 1176 plug (or fairchild or whatever you like). I find I get the best performances when the mix is as close to perfect as possible. Seems to really inspire the performer. Right now I'm using an O1V96 w/ Lucid convertors as a front end / controller. I can monitor with the on board compression if necessary and send tha DAW a pre processing signal. Doesn't sound nearly as cool as the UAD comps though.

Jason

 

[Cabbage]

I always split the signal to get monitoring direct in analog. The monitor gets compression and some reverb (just a cheap dbx 266 and an ancient Alesis reverb). The other path goes clean to the AD-converters.

No latency, and the singer can hear what is going on.

Petter

 

[orangeoctane]

Before the days of digital, you really didn't need to compress during tracking as tape saturation would handle that task for you.

But now, using some hardware compression to get a nice hot signal into your A/D converters can be desirable so that you are utilizing more of those bits and getting a better S/N ratio. Any additional compression you need can, and should, be done at mixdown.

Using a cheap hardware compressor can kind of defeat the purpose though as it is more likely to introduce some artifacts and can spoil a great take. Even using a good compressor incorrectly can yield the wrong result.

But one hardware compressor that I HIGHLY recommend for doing vocals into a DAW is the FMR RNC compressor. It retails for $199, sounds like a $2000 compressor in it's \"Super Nice Mode\" and is VERY forgiving for inexperienced engineers. It doesn't look pretty or impressive but will do an amazing job for you.

 

[dusty]

RNC in supernice mode get my vote too!