I am exploring the possibility of buying a hardware compressor to use on the
mic chain when laying down vocals. Currently I use the UAD-1 which I like
very much but was wondering about hardware units that might add some more
interesting flavors on the way in.

Are people using compressors in the mic chain and also is the hardware
compressor worth the big money. And which ones do people like for male
voice, mellower music.

I don't think I have ever recorded a vox without an outboard compressor...
I like the LA2a, I have one I built myself and I think it sounds great... I
also use a Manley variable mu and an 1176 when I want something different.
Steven Sena.

"Sanbar" wrote in message
...
I am exploring the possibility of buying a hardware compressor to use on
the
mic chain when laying down vocals. Currently I use the UAD-1 which I like
very much but was wondering about hardware units that might add some more
interesting flavors on the way in.

Are people using compressors in the mic chain and also is the hardware
compressor worth the big money. And which ones do people like for male
voice, mellower music.

On Sun, 12 Jun 2005 14:46:19 -0400, Steven Sena wrote
(in article ):

I don't think I have ever recorded a vox without an outboard compressor...
I like the LA2a, I have one I built myself and I think it sounds great... I
also use a Manley variable mu and an 1176 when I want something different.
Steven Sena.

Watch out. We'll see Alesis 3060s being hauled out of closets!

Ty Ford




-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com

Ty Ford wrote:
On Sun, 12 Jun 2005 14:46:19 -0400, Steven Sena wrote
(in article ):


I don't think I have ever recorded a vox without an outboard compressor...
I like the LA2a, I have one I built myself and I think it sounds great... I
also use a Manley variable mu and an 1176 when I want something different.
Steven Sena.


Watch out. We'll see Alesis 3060s being hauled out of closets!

Ty Ford




-- Ty Ford's equipment reviews, audio samples, rates and other audiocentric
stuff are at www.tyford.com



ssssshhhhh.

Ty Ford wrote:
On Sun, 12 Jun 2005 14:46:19 -0400, Steven Sena wrote
(in article ):

I don't think I have ever recorded a vox without an outboard compressor...
I like the LA2a, I have one I built myself and I think it sounds great... I
also use a Manley variable mu and an 1176 when I want something different.
Steven Sena.

Watch out. We'll see Alesis 3060s being hauled out of closets!

Ty Ford


Brussel sprouts have an interesting flavor, but it doesn't mean I want
to eat them! I use a Summit TLA-100 these days as my vocal
compressor...smooth and clean..gotta have an opto comp and this is half
the price of an LA2A.

Tom Paul

"Sanbar" wrote in message...

I am exploring the possibility of buying a hardware compressor to use on the
mic chain when laying down vocals. Currently I use the UAD-1 which I like
very much but was wondering about hardware units that might add some more
interesting flavors on the way in.


"Interesting flavors" is a wildly interpretive concept. ;-)

People think I'm crazy when I tell them that a couple of my favorite comps
for getting the job done rather quickly and transparently, are the Symetrix
501 and the Ashly CL-52E. Occasionally, if you wait for a clean unit from
a reliable seller, you can find either one of these on e-Bay for $100 or so.
If you care to look at the studio site, you can see the comps that I have
available (Manley, DBX, Urei, et al), yet I still go for these first... for anything
from bass guitar to voice.

Are people using compressors in the mic chain and also is the hardware
compressor worth the big money.

IMHO, yes, and yes.

And which ones do people like for male voice, mellower music.

This would be totally source and situation dependent.


--
David Morgan (MAMS)
http://www.m-a-m-s DOT com
Morgan Audio Media Service
Dallas, Texas (214) 662-9901
_______________________________________
http://www.artisan-recordingstudio.com

"Sanbar" wrote in message...

I am exploring the possibility of buying a hardware compressor to use on the
mic chain when laying down vocals. Currently I use the UAD-1 which I like
very much but was wondering about hardware units that might add some more
interesting flavors on the way in.

The comp built into Avalon's 737.

David Morgan (MAMS) wrote:

"Interesting flavors" is a wildly interpretive concept. ;-)

People think I'm crazy when I tell them that a couple of my favorite comps
for getting the job done rather quickly and transparently, are the Symetrix
501 and the Ashly CL-52E.

My 501 is usually a 'goto' but not for flavour ...
It's beauty is that it handles (almost) any signal
cleanly. I have several Symetrix and the 525 is more
flavourous and (for me) not as usefull.
DBX is also afordable, 166 or other 16x series to
try but not as keen on vocal.

Are people using compressors in the mic chain

Yes, conservatively, save the aggression for mixing.

and also is the hardware
compressor worth the big money.

For me it is a MUST HAVE !
But my system is built on hardware, with software
serving a support role that is growing like for most
of us.

rd

In article zXore.12572$gL4.4611@trnddc07, MAMS\
wrote:

I am exploring the possibility of buying a hardware compressor to use on the
mic chain when laying down vocals. Currently I use the UAD-1 which I like
very much but was wondering about hardware units that might add some more
interesting flavors on the way in.


"Interesting flavors" is a wildly interpretive concept. ;-)

People think I'm crazy when I tell them that a couple of my favorite comps
for getting the job done rather quickly and transparently, are the Symetrix
501 and the Ashly CL-52E. Occasionally, if you wait for a clean unit from
a reliable seller, you can find either one of these on e-Bay for $100 or so.
If you care to look at the studio site, you can see the comps that I have
available (Manley, DBX, Urei, et al), yet I still go for these first... for
anything
from bass guitar to voice.



Next time you're recording a vocal or a bass in that studio plug in
their LA3.

It's only two knobs: output volume and compressor threshold - damn easy
to use. No ratios, no attack or release time. No muss, no fuss. Just
lotsa power captain.

The problem with the Ashly is that you cannot wack a signal with it. It
only sounds good if you kiss the levels. Once you've got your feet wet
with a healthy LA3, you learn to trust your ears and not your eyes. Cuz
watching the meter pinning can scare ya.

Give it a try! To my ears, and I've owned a couple Ashly's mono
compressors for 25 years, they aren't in the same ballpark.

If their LA3 sounds crappy on vocals or bass, it needs to be looked at.
It should give you wood.





David Correia
Celebration Sound
Warren, Rhode Island


www.CelebrationSound.com

what price range are you thinking of when you say "big money"?

On 13 Jun 2005 14:35:36 -0700, wrote:


Brussel sprouts have an interesting flavor, but it doesn't mean I want
to eat them! I use a Summit TLA-100 these days as my vocal
compressor...smooth and clean..gotta have an opto comp and this is half
the price of an LA2A.

Fine piece!

Sanbar wrote:
I am exploring the possibility of buying a hardware compressor to use on the
mic chain when laying down vocals. Currently I use the UAD-1 which I like
very much but was wondering about hardware units that might add some more
interesting flavors on the way in.

Are people using compressors in the mic chain and also is the hardware
compressor worth the big money. And which ones do people like for male
voice, mellower music.

When I started recording many years ago, I tried to avoid vocal
compression while tracking. When I became convinced that some degree of
level-taming was necessary, I swore by an ultra-cheap Boss RCL-10
patched into the channel in/out. In time, I graduated to a dbx 286A.
(It goes direct to a custom router, so I can route it direct to any
tape deck input as needed! I can also patch in a pitch corrector or
harmonizer as needed.)

I like the transparency, simplicity and gentleness of the 286A. I
strive to do approximately "Half-compression" during the tracking
process, and I compress a bit more on a digital mixer in the mix stage.
Works for me.

I'd be interested in hearing opinions of the relative merits of the
LA2A reissue and the Manley EL-OP.

Thanks