That "Everest" is emulating a Summit Audio TLA-100A, and not knowing it was in the Presonus, I was thinking about the Summit the whole time until Everest was loaded towards the end of the video. Very nice! If you want to have a similar sound with normal compressors, you can use two if you're also using a subgroup for vocals with a compressor (like you absolutely should)... Basic settings... Vocal channels, ratio 3:1, attack 28 ms, release 700 ms, soft knee, detection peaks (not RMS), side chain / filter high pass 350 Hz... Subgroup, ratio 2.4:1, attack 28 ms, release 450 ms, soft knee, detection RMS, side chain / filter high pass 250 Hz... Then you'll want to play around with the preamp gains for the sound of the compression in the channels, and the channel compression gain for the sound of the compression in the subgroup. You should already know what your target threshold is at, because you're already trying to mix the vocals at that level... So set the thresholds to where you want to mix the vocals at... Then go from there. Let the Holy Spirit teach you on your journey. ❤ By the way those channel compression settings also work great for speech, if you turn the ratio up to 7:1 and turn down the side chain high pass to 250 Hz. Your channel should already have a high pass at 170 Hz or so to mostly get rid of proximity effect. That will give you a sound that's very natural, and can automatically deal with a huge variation in microphone techniques (depending on how much preamp gain, or threshold + makeup gain, you can drive into it before feedback... Ring out your system lately?)
I put my UAD LA-2A plug-in on everything except cheeseburgers and ice cream. But I also have Manley Variable Mu too which I love even more. Still not enough for burger topping though.
James, with the compressor on at 6:30, it took away the "opera" highs for the performer. I like how you show and tell us what is happening with the board, for the application being discussed. Dumb question: Is compression added to instruments too? Or is that when the limiters are used? I will be viewing this video again, and taking the notes to our Yamaha QL5 at church when I work the board. Thanks!
No dumb questions: Yes to instruments, but it's not quite as critical as vocals. Bass is the first pick though - gotta have that sustain, and it's all about the low end. Limiters are high-ratio compressors, and I don't typically use them in live sound, though sometimes I'll put it after the compressor for an acoustic guitar to just tame the peaks a little bit.
The breaths are definitely worth paying attention to because I was personally thinking my lead had a medical issue we weren’t aware of but the truth is it was the compression the whole time.
That "Everest" is emulating a Summit Audio TLA-100A, and not knowing it was in the Presonus, I was thinking about the Summit the whole time until Everest was loaded towards the end of the video. Very nice!
If you want to have a similar sound with normal compressors, you can use two if you're also using a subgroup for vocals with a compressor (like you absolutely should)... Basic settings... Vocal channels, ratio 3:1, attack 28 ms, release 700 ms, soft knee, detection peaks (not RMS), side chain / filter high pass 350 Hz... Subgroup, ratio 2.4:1, attack 28 ms, release 450 ms, soft knee, detection RMS, side chain / filter high pass 250 Hz... Then you'll want to play around with the preamp gains for the sound of the compression in the channels, and the channel compression gain for the sound of the compression in the subgroup. You should already know what your target threshold is at, because you're already trying to mix the vocals at that level... So set the thresholds to where you want to mix the vocals at...
Then go from there. Let the Holy Spirit teach you on your journey. ❤
By the way those channel compression settings also work great for speech, if you turn the ratio up to 7:1 and turn down the side chain high pass to 250 Hz. Your channel should already have a high pass at 170 Hz or so to mostly get rid of proximity effect. That will give you a sound that's very natural, and can automatically deal with a huge variation in microphone techniques (depending on how much preamp gain, or threshold + makeup gain, you can drive into it before feedback... Ring out your system lately?)
Solid demonstration of the difference of pre or post eq compression
Thanks!
I love this example of 'too much' compression, makes it easier to hear exactly what we are trying to avoid.
Great tutorial James. Doing compression right gets the tracks to sit in the mix better along with dynamics control.
the 1176, a great starting point is the 10 oclock 2 o clock . with the 4 to 1 .. and move from there
I’d love to hear your channel on the drums in this mix. I’m looking for that on the floor Tom’s
The la 2a is more for the bass... I've had great control with it there.. I've had this board since 2019.. it's a fun board to learn on
I put my UAD LA-2A plug-in on everything except cheeseburgers and ice cream. But I also have Manley Variable Mu too which I love even more. Still not enough for burger topping though.
@@DeltaWhiskeyBravo13579 that's funny.. that's for the response
Great examples and details on how different compressors do the job, and what to look for.
James, with the compressor on at 6:30, it took away the "opera" highs for the performer.
I like how you show and tell us what is happening with the board, for the application being discussed.
Dumb question: Is compression added to instruments too? Or is that when the limiters are used?
I will be viewing this video again, and taking the notes to our Yamaha QL5 at church when I work the board. Thanks!
No dumb questions: Yes to instruments, but it's not quite as critical as vocals. Bass is the first pick though - gotta have that sustain, and it's all about the low end. Limiters are high-ratio compressors, and I don't typically use them in live sound, though sometimes I'll put it after the compressor for an acoustic guitar to just tame the peaks a little bit.
#1 Get your "vocalists" to learn good microphone technique.
It all starts at the source
Sounds simple however that's my hardest job.
The breaths are definitely worth paying attention to because I was personally thinking my lead had a medical issue we weren’t aware of but the truth is it was the compression the whole time.
somebody: "call the doctor!"
sound tech: "bypass the compressor"
Goood morning Professor
How so you get your toms and kick to sound like drums definitely on Facebook
Would love to see some stuff on the Soundcraft Ui24. Thanks for all the great Content
Awesome! Thanks for this! Using an A&H SQ6 in lieu of a PreSonus, but the fundamentals are still the same. Compressing vox is always a fun challenge.
SQ series coming soon :)
Thanks a lot for your videos. It really helps.
God bless you abundantly and keep it going on. 👍🏾
❤❤❤🎉🎉🎉 i want learning 🎉🎉🎉
How do u print the mix
I have a field recorder that records the console output and my mic
Do it on an avantis lol