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#1
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compressors
Thanks philicorda, but this is live reinforcement work not recording,
I'm not sure how to relate your point to my environment. Obviously I'm missing something, please be patient. Thanks again, Bill |
#2
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compressors
billssupport wrote:
Thanks philicorda, but this is live reinforcement work not recording, I'm not sure how to relate your point to my environment. Obviously I'm missing something, please be patient. The technique is similar, except of course in the live reinforcement world you need to know where your gain margins are and make sure that compressor doesn't adjust the gain up near the point where the system will feedback. I suggest recording a couple signals from the inserts on your board... pick a vocal one day, pick a guitar the next day. Just record them to whatever you have handy, even cassette is fine. Then after the concert, sit down with the compressor, play the recording back through it, and twiddle the knobs to get a sense of what they do. Figure out what settings work best with what signals in your actual environment. I will highly recommend the Yamaha Sound Reinforcement Handbook for an intro on how this stuff works, but there is no substitute for listening. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#3
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compressors
On Feb 1, 2:12*pm, billssupport wrote:
Thanks philicorda, but this is live reinforcement work not recording, I'm not sure how to relate your point to my environment. Obviously I'm missing something, please be patient. Thanks again, Bill In a live situation, I use compressors to protect the output gain because, it's live and you really can't control the unexpected. In recording they use compressors to raise the overall gain to a certain level. I try to set the compressor so that it's barely affecting the output when the singer/instrument is singing/playing at a normal level. On a singer I'll put a 2 to 1 ratio about 3 db above their normal level. So, if their input is hitting -8 db when singing normally, I'll set the threshold at -5 db. That takes the peaks of the singer back down to or just below their normal level. If you see and hear that the compressor is really squashing the signal then you need to reset your input gain and/or readjust the compressor threshold and ratio. You might have to do the adjustments a few times depending on if the singer/player gets louder as they warm up or gets softer as they get tired. Don't worry about not hitting the compressor if you able to control the levels just using input trim and fader position. Sometimes compressors are used (in live situations) for effects too, but, that will come later after you learn how to use them as a safety net. |
#4
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compressors
billssupport wrote:
Thanks philicorda, but this is live reinforcement work not recording, I've seen Phildo advocate parallel compression in a live sound context, I think he knows what he is doing when doing live sound reinforcment. I'm not sure how to relate your point to my environment. Obviously I'm missing something, please be patient. There is no difference, only the added caveat that compression leads to increased gain when sound goes softer. A simple tip: if you do not have time to learn how a given compressor works and sounds with various options selected, then start out with all rotary buttons at 12 o'clock. Also, as Scott said: there is no replacement for using time to play with a new contraption so as to learn what it can and can not do for you. Some of the time limiting with a suitable attack and release - 30 and 300 milliseconds is not a bad bet - is better than compression when it is about vox, your mileage may vary from zero to infinity. Bill Kind regards Peter Larsen |
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