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But Let's not Forget about Serial Compression


Anderton

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Given that there's already a thread about parallel compression, I'm offering this in the spirit of equal time...there's much to be said for putting two compressors in series, and using very gentle compression curves. You get a smooth, rounded compression sounds without artifacts, and the effect can be audibly very subtle but if you compare it to no compression at all, you really hear the difference.

 

It's fantastic for singers who sing at low volume and with breathniess...like the "torch singers" of yesteryear. It can also do great things with nylon string guitar, and other instruments that are a little "weak" and would benefit from compression, but which are sufficiently delicate that artifacts become really problematic.

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May I say a word for no compression? Record what you hear. If your singer or instrument it too weak, get another, or change the production to work with what's making the music.

 

It seems that compression is just one of those things that everyone does because everyone does it. It certainly has its uses, but it shouldn't automatically be part of every "vocal chain" or "guitar processor." Too few recordists have the restraint to start without a compressor close at hand.

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May I say a word for no compression? Record what you hear.

 

But you can't record what you hear. Here's what I mean:

  1. Have an acoustic guitar player sit down in a room, and record the playing.
  2. Put really wonderful speakers next to the guitarist.
  3. Play back what you recorded and then have the guitarist play.

There's a huge difference...a lot gets lost in the translation to recording. The initimacy of the human voice benefits from compression to restore some of that intimacy. Of course, my usual mantra - "If you can hear compression is being used, you're using too much compression" - still applies.

 

 

 

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Of course, my usual mantra - "If you can hear compression is being used, you're using too much compression" - still applies.

 

 

Which is where serial compression can really shine. Hit the peaks with one set for limiting (but with a really high threshold), and use the second for much more modest compression, and you can smooth things out without doing as much audible "damage" as if you just used a single compressor set on "stun."

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But you can't record what you hear. Here's what I mean:

  1. Have an acoustic guitar player sit down in a room, and record the playing.
  2. Put really wonderful speakers next to the guitarist.
  3. Play back what you recorded and then have the guitarist play.

 

There's a huge difference...a lot gets lost in the translation to recording.

 

That doesn't really mean the same thing as I meant. What I mean is that you listen to the source live, then do what you need to do in order to get that same sound in the control room. If you need to bugger it up in order to make it work in a mix, then do so since you probably can't change the instrument or the miking or the arrangement at that point, but don't just reach for the compressor when you record because you "know" you'll need it.

 

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FWIW' date=' many of the big name pop vocals of the golden age of hi fi had lots of compression. Listen to the recordings of the big vocal stars of the 50s and early 60s and you hear a lot of compression.[/quote']

 

Part of that was because they wanted to get as much level on tape as they could. And back then, they used "tape compression" whether they wanted it or not. Also, they made records quicker then than they do today, and didn't have the advantage of multiple mics with a track for each one so they could balance the mix after they got a good take.

 

And in the 80s, there was a lot of compression, particularly on vocals, because that was part of the sound of that era. Today we don't have to repeat history unless we're trying to re-create the historic sound.

 

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I use serial compression mostly on vocals. Instruments like driven guitars can be highly compressed already. Trying to get vocals to compete with those instruments without ducking behind them takes some artful tweaking. Compressors can boost and color the signal too.

 

A comp with a makeup knob can act like a preamp and take a low level signal up a little at a time so the next comp in series hits it harder then the first. Of course there are increased noise levels too so gaining up so its got to be the right solution for the particular track. I combine EQ in between stages and after so the brighter edge of vocals is compressed and the bass remains tamer and more natural. This isn't much different then what you do gaining a guitar up. You can get a Vocal part to cut like a guitar does with small increments of compression better then one single stage. many times its the only option.

 

I like using Voxformer for this. Its got a Parametric EQ and primary compressor, then you can set up a 2 band parallel compressor after that first stage with a variable frequency split. After that its got harmonic Presence and drive controls that can really give a nice edge to the vocal parts.

 

Its a tricky tool to use well, but I find it produces lower noise levels then using individual plugins. I can do it with others but the results are often different.

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For those who still remember the Really Nice Compressor (RNC) - the Really Nice mode puts two compressors in series. It sounds really nice which, to me, means that it doesn't sound like anything at all other than smoothing out a ragged level. I wouldn't use it to change a sound in any other way than to make it more audible. This is not the same as making it thick, fat, or pop out of the mix.

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For those who still remember the Really Nice Compressor (RNC) - the Really Nice mode puts two compressors in series. It sounds really nice which' date=' to me, means that it doesn't sound like anything at all other than smoothing out a ragged level. I wouldn't use it to change a sound in any other way than to make it more audible. This is not the same as making it thick, fat, or pop out of the mix.[/quote']

 

And thus we loop back to the first post :) The RNC is still around, as is FMR Audio, and I agree that is indeed a sweet little box. Fortunately plug-ins make it really easy to get the serial compressor option these days, you don't have to mess with patching hardware compressors together.

 

 

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I think it might be three compressors in series in "Super Nice Mode". And yes, I have one of those, using it for tracking alongside the RNLA, also made by FMR. I use the RNC for making things more audible. I use the RNLA for that as well as adding some harmonic distortion, if that's what I want.

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