This was great. So many of these types of videos are full of fluff without much substance or are /only/ ads for a product. This was direct, useful, and well-produced. Thanks!
Good vid. I think it’s cool that this method of GR is still popular and being used (and taught!) in the digital age. Also referred to as “Serial Compression”, this was s very common chain back in the days of analog. Serial gain reduction was originally used for mastering; but it did eventually become a very popular gain chain in the studio as well; where it was used for both mixing and tracking. Common compressors used in a serial chain were typically a combination of a “fast” compressor, (typically put first, to grab and reign in the initial peaky transients); and a “slower” type of compressor, which would then “smooth out” the entire track/performance (sometimes referred to as “the body”) in a really nice, even way. Popular models used for the above purposes included the Urei 1176 (or other FET or fast-form of compression), and a Teletronix LA-2, (or other Opto model, like a Focusrite Red, though other compressors that were slower in attack could be used as well). While the order of the compressors did matter, in terms of the results - there was no hard and fast “rule” that said that you always had to put a FET model first in the chain... it wasn’t at all uncommon to switch up the order, it all depended on the results you desired. Serial compression wasn’t just used in the mixing stage, it was commonly used for tracking, too... Back in the bad old days, when typical mid-level 16/24 track studios usually only had 3-5 (or so) nice compressors in their OB rack, tracking certain sources with compression used while recording meant that those compressors could then be freed up for use later on while mixing. I used to use serial compression all the time while tracking; (mostly on vocals, but often on guitar/amps, too), and my go-to serial chain was an 1176 for the first stage (or sometimes a VCA like a dbx 160) and an Opto like an LA-2 (or in later years, sometimes a Distressor set for slow attack/opto mode) for the second stage. Along with getting the desired types of reduction that both devices were used for, there was also the great SONIC vibe that each compressor was known for. And, you could use as many compressors as you wanted in a serial chain; to suit whatever outcome you wanted.... as long as you had enough compressors to choose from, which is far less of a problem with today’s plugs, than it was back in the days of actual hardware. 😉 LOL. FWIW. 😊
Donny Thompson as a guy tryin to mix for a church and having a pretty good bit of plugins to use, this info has been extremely helpful. Specifically the description of the characteristics of each unit.
@@MarzMunRogue serial is using two compressors on the track e.g. 1176 (fast) and LA2A (slow). These will be low ratios e.g. 4:1. A parallel compressor e.g. 1176 with a high ratio e.g. all in will be used on an aux and blended with vocal track. It's a cool way to make sure every word is heard and parallel is also a way to give analogue vibe (warmth / thickness) to get a bigger overall sound.
This is an old post but I wanted to say something because I accidentally put two compressors (the PuigChild 670 and Waves SSL Bus Compressor) on my mix bus on a rock track today. I usually A/B them to see which one I like the best on the song. But I unwittingly activated both of them and BOOM the mix came alive like crazy. The drums were slamming in the best way and a ton of excitement was added to the mix. Then I listened in my car and LOVED it. So, I'm here searching for confirmation that it's OK to do this. Your post really helped me out, as did Graham's video. That vocal really stood out after he added that 2nd compressor. This will be standard for me from now on. Thanks!
This guy has a gift for always doubling the amount of time required to explain something. Seems like a nice, knowledgeable person. Bui Graham, my goodness, we can re-watch and pause the video so redundancy is absolutely unnecessary. Trust your audience!
I don't think he mentions how one of the spectacular effects of the LA2 emulation is the slow attack - which makes the leading edge of the words pop - it is the slowness of the compression that gives it the urgency. Part of the old analog magic!
Yes. I very much agree. it is an auto leveler. A compressor with slow attack so it grips after the peak events. it leaves your transients alone and comes slowly in to pull everything after the impact even louder or at level. You might be able to do that with any compressor, but you would need to have a long attack range for the second compressor. You only want to catch the words that fall off.
Exactly! Usually in a 2 stack compression, the first one is used to level out the volume using a fast attack. The second compressor is used with a slow attack so you can pull in the vocal parts after the transients. I personally use a fast 1176 type compressor in the first stack and an LA-2A type compressor with a slower attack
Great demonstration of a great technique. On the flip side though... I think at the very least, in the low energy part of the verse the quieter vocal has a better flow. The way it weaves in and out of the muted guitar both fits the moment better and makes it more intimate in that I have to reach in with my attention and pull the vocal up out of the bed of the rhythm. Once the palm comes up the second compressor can be auto'd in to keep the vocal on top without leaving the atmosphere of an otherwise laid back presentation.
The funniest thing happened to me after almost 6 years of mixing vocals out the box and hating in the box processing. Last week I tried in the box again. I happened on this parallel compression you mention here using nomads plugins and was blown away. Crazy to now see you do the same here. I'll try these waves plugins too. I know that CLA -2A wont measure up to the Teletroniks it's based on though. But it might be close. That frigging thing costs thousands if you're lucky to find a used one
Very well done. And thank God you selected a passage where someone can actually sing. I can't tell you how many times I've listened to a shootout or tutorial with pretty awful music.
Just watched a vid advocating preserving all vocal transients with slow attack times and his mix sounded rubbish. Yours was way better. I'm sold on compressing the whole vocal sample.
cascade compression seen it on the RNC 1773 in super nice mode it splits the compression ratio between 3 compressors. You can get one for cheap I got mine for like $120.
ive never found a replacement for the la2a, i use it a little differently in i use it first as a gain stager bro try it if you get the chance like after you edit, tune and and manual leveling use it after autotune as a gain stager backing of extra level and controlling peaks by adding compression and then imagine it has no make up gain.. -2 to -3 db of gain reduction will be ok .. tell me what you think if you do try it.. oh and mess with that little screw thing on the waves la2a ive found it to be very interesting. i think its some form of filter
As a listener I actually prefer the vocal dynamic range without CLA -2A, the natural volume decay carry more emotional vibes that you pay attention to compare with bringing up the volume.
My advice would be to use two very different comps: SSL and CLA-2A both have slow attacks compared to Rvox, Softube FET*, C1*, MC77 and even ProTools stock comp/lim. (I've made my own tests, believe me! ;-) ) *Note that C1 reverses the phase! :-o and Softube FET in Lookahead mode introduces a 1 ms delay. So I use SSL Channel and Rvox (before or after it), SSL compressing the overall signal (might as well be CLA-2A or 76) and Rvox dealing with attacks peaks - of course, no one forbids using 3 or more compressors. ;-)
Nowadays, my basic FX chain on vocals would be: 1) C6 : first compression and fixes for frequencies balance issues 2) RVox 3) SSL EQ 4) CLA-3A then optionally a deesser and an MV2 to even up low levels. But of course this is a matter of taste and it depends greatly on the source recording.
Am I wrong for not bouncing tracks with effects onto new tracks? I hear a delay on the vocal but don't see it in the chain. I guess it makes sense to reduce CPU usage but I like the non-destructiveness of just automating effects on and off where needed.
Can anyone please send me the preset of what he is doing on the SSL because I can’t see and I can’t fallow It would be amazing please if anyone can help. Thank you.
One problem I find with this chain is the eq on the ssl channel either sits between the ssl compressor and the la2a or before them both, I guess there no way to put it after both?
Well personally I tend to use 2 to 3 different compressors, one when actually recording the vocals (usually CLA-2A), one after the surgical eq cutting (usually H-Comp), and one immediately after that H-Comp if I want to add it or feel like it’s missing something (usually Supercharger by Native Instruments, or R-Vox or even using the built in compressor in the CLA Vocals plugin)
@@kiliankraus Just experimenting and playing around honestly, and I stuck with them because they are some of the simplest compressors to use to my personal liking. The only one out of the ones that I mentioned that’s more complex is the H-Comp, because you do also have to worry about the release and attack times but with the BPM sync feature I don’t see how you can wrong with that
@@rosemoonaqua i see that makes sense, thankyou for your insight. I have H-comp but always just avoided it cuz I had no reason why change compressors, may I'll check it out now you mention it
So it's hard to tell because you zoomed in and iddn't zoom back out - but BOTH of those compressors are on the same track? THere's no visible settings for the second compressor - so how does it know what to compress? No attack/release, etc.
You want to match your plug-in component to your source. If your source is stereo, use a stereo comp. If mono, use a mono comp. Usually vocals start out as mono and when you add some effects, reverb and delay and such, they will be stereo.
hey graham hope all is well thanks for the tutorials and everything have a question tho.. in this method can we still apply double compression if i had earlier sent the original track item to its own parallel comp buss.. is it wise?? thanks much love from #Africa #kenya.. bless
Do the opposite , i usually use vocal rider to help the compressor falowing ..... also don't be afraid to compress on vocal bus , i easilly compress like 4 time until Master : track , sub vocal bus , vocal bus , master !! on buses some like the puigchild is exellent since you can have mid /side Left /right independant compression (check my video on it on my channle ;)) , also the TCL 2 Millenia (plugin alliance) or cla 2 again !! (the CL1B and TLA 100 are also exellent for vocals) Keep in mind that a compressor will reduce the dynamic range , while a vocla rider will reduce the whole level at one time , but preserve the whole dynamic ;) ..
Your Welcome , there's no rule , it all depends ... one sonic goal , differente roads , experiment and choose the best ....how to know the best ? Fastest and best sounding !
This is an interesting method for compression, but I do have a question, hopefully it will get answered, but when I record vocals on the current microphone I have, there is some self-noise that comes from the microphone which is very audible when I solo vocals(I will buy a better mic when funds are available), won't using this method of compression with multiple compressors to minimize the DR as much as possible also bring up the self-noise in the recording?
I know it’s really late but I’m posting in case somebody else needs some advice everything is going to have some background noise. I currently have one of the best microphones you can get for vocals that’s not over $1000 and it still has some background noise. Use a vocal gate to solve this problem easily. If you aren’t referring to background noise but more like a buzzing sound, your mic is probably busted.
Moe Ali compress before putting effects. Put delay and reverb at the end of the chain to avoid muffle/muddy vocals. It doesn’t always happen, but sometimes compressing after putting effects can make your mix sounds mediocre.
reverbs should be placed in your sends. Compressors on the audio track before/after EQ. I personally prefer in between two EQ's. time-based effects should always be placed last.
Moe Ali compression before! I think any producer will agree to not put any effects plugins before compression because that most likely to muddy-up your mix. (Especially vocals)
In Pro Tools many people can think it is clipping, but there is an option to turn the clip height size up to basically fill the visible clip height but its not the true gain and doesn't correlate with or effect gain staging. Clipping is only audible and that is part of the point in having this I believe, prompts you to use your ears! (As well as being a useful tool to see low-level transients etc.)
@@allIhaveISMusic1 yeah you can only clip at the converters, the digital world of audio cant clip haha so unless the waveforms are square waves due to input clipping your ADC converter then its not actually clipping. Pro Tools just has a view option to increase waveform size. Ctnrl + alt scroll I think.. Great tutorial though!
That isn’t necessarily true. If the engineer is any good at all, or even semi-competent, vocals are very easy to capture. Yes, the singer is important and maybe even mic and preamp combo matters, but capturing a voice with a transducer is as basic as it gets.
I thought the same, Emma, but I've noticed that - at least for my Pro Tools - it is pretty simple now. Just need the Waves Central application and install via that (also activating the license), then Pro Tools searches throughout my hard drive for the AAX's. While using Ableton last year, I had trouble installing them, but once everything went on sale recently, I decided to retry. What DAW do you frequent? It may just be better optimized for the Pro Tools file searcher on startup.
if ur using fl studio, you need to re-scan all plugins with all options enabled, shell, errors, etc. It may take long time. For other daw like reaper I didn't need do all these things.
@@MYNAMEISKLAY Yeah I got Waves Central but then it got all messed up when i downloaded a newer plugin of theirs as the installer was no longer compatible. Im using Logic now so not even worrying about bothering with this anymore!
This was great. So many of these types of videos are full of fluff without much substance or are /only/ ads for a product. This was direct, useful, and well-produced. Thanks!
Good vid. I think it’s cool that this method of GR is still popular and being used (and taught!) in the digital age.
Also referred to as “Serial Compression”, this was s very common chain back in the days of analog. Serial gain reduction was originally used for mastering; but it did eventually become a very popular gain chain in the studio as well; where it was used for both mixing and tracking.
Common compressors used in a serial chain were typically a combination of a “fast” compressor, (typically put first, to grab and reign in the initial peaky transients); and a “slower” type of compressor, which would then “smooth out” the entire track/performance (sometimes referred to as “the body”) in a really nice, even way.
Popular models used for the above purposes included the Urei 1176 (or other FET or fast-form of compression), and a Teletronix LA-2, (or other Opto model, like a Focusrite Red, though other compressors that were slower in attack could be used as well).
While the order of the compressors did matter, in terms of the results - there was no hard and fast “rule” that said that you always had to put a FET model first in the chain... it wasn’t at all uncommon to switch up the order, it all depended on the results you desired.
Serial compression wasn’t just used in the mixing stage, it was commonly used for tracking, too...
Back in the bad old days, when typical mid-level 16/24 track studios usually only had 3-5 (or so) nice compressors in their OB rack, tracking certain sources with compression used while recording meant that those compressors could then be freed up for use later on while mixing.
I used to use serial compression all the time while tracking; (mostly on vocals, but often on guitar/amps, too), and my go-to serial chain was an 1176 for the first stage (or sometimes a VCA like a dbx 160) and an Opto like an LA-2 (or in later years, sometimes a Distressor set for slow attack/opto mode) for the second stage. Along with getting the desired types of reduction that both devices were used for, there was also the great SONIC vibe that each compressor was known for.
And, you could use as many compressors as you wanted in a serial chain; to suit whatever outcome you wanted.... as long as you had enough compressors to choose from, which is far less of a problem with today’s plugs, than it was back in the days of actual hardware. 😉
LOL.
FWIW. 😊
Donny Thompson as a guy tryin to mix for a church and having a pretty good bit of plugins to use, this info has been extremely helpful. Specifically the description of the characteristics of each unit.
This was awesome.could some one explain the difference of serial compression vs parellel compression
@@MarzMunRogue serial is using two compressors on the track e.g. 1176 (fast) and LA2A (slow). These will be low ratios e.g. 4:1.
A parallel compressor e.g. 1176 with a high ratio e.g. all in will be used on an aux and blended with vocal track.
It's a cool way to make sure every word is heard and parallel is also a way to give analogue vibe (warmth / thickness) to get a bigger overall sound.
Russell Featherstone thank u so much for this Russell.. I actually screenshotted it... Definitely understand now u rock !
This is an old post but I wanted to say something because I accidentally put two compressors (the PuigChild 670 and Waves SSL Bus Compressor) on my mix bus on a rock track today. I usually A/B them to see which one I like the best on the song. But I unwittingly activated both of them and BOOM the mix came alive like crazy. The drums were slamming in the best way and a ton of excitement was added to the mix. Then I listened in my car and LOVED it. So, I'm here searching for confirmation that it's OK to do this. Your post really helped me out, as did Graham's video. That vocal really stood out after he added that 2nd compressor. This will be standard for me from now on. Thanks!
This guy has a gift for always doubling the amount of time required to explain something. Seems like a nice, knowledgeable person. Bui Graham, my goodness, we can re-watch and pause the video so redundancy is absolutely unnecessary. Trust your audience!
Had forgotten what a great song this was Graham. Nice trick. Remember watching this years ago and it inspired me to buy an outboard LA-2A clone.
What a difference. It actually made me start nodding my head to the music.
Thanks Graham for a most descriptive and down to Earth instruction
I don't think he mentions how one of the spectacular effects of the LA2 emulation is the slow attack - which makes the leading edge of the words pop - it is the slowness of the compression that gives it the urgency. Part of the old analog magic!
Yes. I very much agree. it is an auto leveler. A compressor with slow attack so it grips after the peak events. it leaves your transients alone and comes slowly in to pull everything after the impact even louder or at level. You might be able to do that with any compressor, but you would need to have a long attack range for the second compressor. You only want to catch the words that fall off.
Oh cool!
Exactly! Usually in a 2 stack compression, the first one is used to level out the volume using a fast attack. The second compressor is used with a slow attack so you can pull in the vocal parts after the transients.
I personally use a fast 1176 type compressor in the first stack and an LA-2A type compressor with a slower attack
Moment I heard the compressor on the vocal... it went from "sounds oook" to holy DAMN.
Love the CLA-2A. Haven't tried another soft compressor before it in a vocal chain. Works a charm here.
Great tips in this video - thank you!
Learned this from Yoad Nevo in a mastering class. Very useful not just to control dynamics but to bring out the musicality of the actual compressor.
That's a simple but effective trick. I use a 500 Series tube compressor and I'm looking at getting a 2nd VCA-based compressor to do the same trick.
Great demonstration of a great technique. On the flip side though... I think at the very least, in the low energy part of the verse the quieter vocal has a better flow. The way it weaves in and out of the muted guitar both fits the moment better and makes it more intimate in that I have to reach in with my attention and pull the vocal up out of the bed of the rhythm. Once the palm comes up the second compressor can be auto'd in to keep the vocal on top without leaving the atmosphere of an otherwise laid back presentation.
Damn!!! That compressor sounds great!! Love your approach to vocal mixing.
Great tips, thanks again!!
It took me a couple minutes to realize this is in Waves' channel, not in Graham's
Renan Ribeiro haha didnt realize it before i read your comment.
It took me your comment to realize that!
Damn LMAO. Waves got me
Lol, different channel, same SONG...!!!!!
the fact that he got right to the mixing tutorial and not spend 5 minutes talking about it beforehand tipped me off
u can conquer the world u can put on a showwwwwwwwwwwwwwww
Holy Book of Wang 🤣😂😭
So many songs in engineering vids suck but this was catchy, in part due to an actually great mix.
Thank you...
dude I'm dyinggg 😂😂😂😂
Lol 😂
Good tutorial on how to use double compression.. thumbs up 👍
Music was dope 2
The funniest thing happened to me after almost 6 years of mixing vocals out the box and hating in the box processing. Last week I tried in the box again. I happened on this parallel compression you mention here using nomads plugins and was blown away. Crazy to now see you do the same here. I'll try these waves plugins too. I know that CLA -2A wont measure up to the Teletroniks it's based on though. But it might be close. That frigging thing costs thousands if you're lucky to find a used one
Raymund Slanislav this is serial compression, rather than parallel :)
Awesome tip and a terrific explanation and a/b comparison. Really taught me what to listen for. Thank you!
Very well done. And thank God you selected a passage where someone can actually sing. I can't tell you how many times I've listened to a shootout or tutorial with pretty awful music.
The O.G. of UA-cam mix engineers!
Just watched a vid advocating preserving all vocal transients with slow attack times and his mix sounded rubbish. Yours was way better. I'm sold on compressing the whole vocal sample.
I think it depends on song artist vibe. Many songs, many styles.
Really fantastic sounding vocals!
wow skill unlocked thank you waves and Graham
Really helpful tutorial.. Though I didn't hear you say anything about make up volume?
Thanks for the example. I'll give it a shot on the next song.
Awesome! Thanks for posting.
cascade compression seen it on the RNC 1773 in super nice mode it splits the compression ratio between 3 compressors. You can get one for cheap I got mine for like $120.
I've got one and never experimented with that mode. Thanks for the tip.
nice. i changed my 1176 for two cla 2a compressors and it was so much better and easier :)
Great video! Is it a good idea to use multiple compressors live also?
ive never found a replacement for the la2a, i use it a little differently in i use it first as a gain stager bro try it if you get the chance like after you edit, tune and and manual leveling use it after autotune as a gain stager backing of extra level and controlling peaks by adding compression and then imagine it has no make up gain.. -2 to -3 db of gain reduction will be ok .. tell me what you think if you do try it.. oh and mess with that little screw thing on the waves la2a ive found it to be very interesting. i think its some form of filter
Do the attack and release for both compressors change?
I was listening and thinking this sounds so rocking, then remembered I was playing it at 1.5x speed. Try it!
As a listener I actually prefer the vocal dynamic range without CLA -2A, the natural volume decay carry more emotional vibes that you pay attention to compare with bringing up the volume.
0:56 eeerrrr 🎸
This is incredible. Thanks a ton
Thank you for your knowledge
My advice would be to use two very different comps: SSL and CLA-2A both have slow attacks compared to Rvox, Softube FET*, C1*, MC77 and even ProTools stock comp/lim.
(I've made my own tests, believe me! ;-) )
*Note that C1 reverses the phase! :-o and Softube FET in Lookahead mode introduces a 1 ms delay.
So I use SSL Channel and Rvox (before or after it), SSL compressing the overall signal (might as well be CLA-2A or 76) and Rvox dealing with attacks peaks - of course, no one forbids using 3 or more compressors. ;-)
That's good to know on the slow attack, Thank you
Nowadays, my basic FX chain on vocals would be:
1) C6 : first compression and fixes for frequencies balance issues
2) RVox
3) SSL EQ
4) CLA-3A
then optionally a deesser and an MV2 to even up low levels.
But of course this is a matter of taste and it depends greatly on the source recording.
I think this is not level matched because this is the waves channel, good for sales you know.
because level matching is not needed.
What is that song? I love it. Where can I find it?
What's the reverb on the vocal? Sounds really nice
Am I wrong for not bouncing tracks with effects onto new tracks? I hear a delay on the vocal but don't see it in the chain. I guess it makes sense to reduce CPU usage but I like the non-destructiveness of just automating effects on and off where needed.
WOWWWWW ! OK ! that's how you use it ! Love it
Great tutorial, thanks!
Can anyone please send me the preset of what he is doing on the SSL because I can’t see and I can’t fallow It would be amazing please if anyone can help. Thank you.
It's one compressor working to tame the peaks quickly and another compressor working slower to raise the overall level
@@virgilhughes7837 i know that, but what is the exact number of each dial it would really help since I can’t see it.
One problem I find with this chain is the eq on the ssl channel either sits between the ssl compressor and the la2a or before them both, I guess there no way to put it after both?
The only way I can think of right now is not to EQ with the SSL plugin but EQ with another one instead.
The song is great!
bro ive used the la2 and not know what to do next #its crazy
Do you know the universal audio models of L2? Could you tell differences between silver or gray models?? Thanks you re amazing teacher
did he turn off the SSL plugin?
is there any guidance as to which two compressors go well together? Or which kinds of compressors will work well together?
Well personally I tend to use 2 to 3 different compressors, one when actually recording the vocals (usually CLA-2A), one after the surgical eq cutting (usually H-Comp), and one immediately after that H-Comp if I want to add it or feel like it’s missing something (usually Supercharger by Native Instruments, or R-Vox or even using the built in compressor in the CLA Vocals plugin)
@@rosemoonaqua thanks for the response dude, how did you come to combine those specifically?
@@kiliankraus Just experimenting and playing around honestly, and I stuck with them because they are some of the simplest compressors to use to my personal liking. The only one out of the ones that I mentioned that’s more complex is the H-Comp, because you do also have to worry about the release and attack times but with the BPM sync feature I don’t see how you can wrong with that
@@rosemoonaqua i see that makes sense, thankyou for your insight. I have H-comp but always just avoided it cuz I had no reason why change compressors, may I'll check it out now you mention it
That vocal recording is clipping?!?!!
I noticed that too!
Shane dawson
You should level the gain before and after using compressor
Simply Awesome!!!!!
So it's hard to tell because you zoomed in and iddn't zoom back out - but BOTH of those compressors are on the same track? THere's no visible settings for the second compressor - so how does it know what to compress? No attack/release, etc.
Why are you not gain matching when comparing?!?
The DJ - likely because it will show how ignorant this process really is. A competent engineer would get it right during tracking.
Perfect profile pic
How does this compare to parallel compression?
Just what I need when running out of processing power! (great demo though and top tip thank you)
Bus
I do think there is better comp´s for example T-racks optical comp. or Gain reduction from JST, for rock/metal
should i use mono compressor or strereo compressor on vocals
You want to match your plug-in component to your source. If your source is stereo, use a stereo comp. If mono, use a mono comp. Usually vocals start out as mono and when you add some effects, reverb and delay and such, they will be stereo.
So no one here does the old 1176 first then the 2A right behind it trick ?
Cool trick tip!
Cool, thanks 🙂
hey graham hope all is well thanks for the tutorials and everything have a question tho.. in this method can we still apply double compression if i had earlier sent the original track item to its own parallel comp buss.. is it wise?? thanks much love from #Africa #kenya.. bless
I use my CLA 2a after my modded Wa76 compressor.
Modded?
@@SEANXOMUSIC this man is mixing on Xbox 😂
How does this technique compare to using one compressor followed by Vocal Rider? Are there benefits to using one over the other?
Do the opposite , i usually use vocal rider to help the compressor falowing ..... also don't be afraid to compress on vocal bus , i easilly compress like 4 time until Master : track , sub vocal bus , vocal bus , master !! on buses some like the puigchild is exellent since you can have mid /side Left /right independant compression (check my video on it on my channle ;)) , also the TCL 2 Millenia (plugin alliance) or cla 2 again !! (the CL1B and TLA 100 are also exellent for vocals)
Keep in mind that a compressor will reduce the dynamic range , while a vocla rider will reduce the whole level at one time , but preserve the whole dynamic ;) ..
Thanks! It's cool to learn how other people go about solving the same problem with different techniques.
Your Welcome , there's no rule , it all depends ... one sonic goal , differente roads , experiment and choose the best ....how to know the best ? Fastest and best sounding !
Did you record it with compression?
Good question
Thank you waves!!
This is an interesting method for compression, but I do have a question, hopefully it will get answered, but when I record vocals on the current microphone I have, there is some self-noise that comes from the microphone which is very audible when I solo vocals(I will buy a better mic when funds are available), won't using this method of compression with multiple compressors to minimize the DR as much as possible also bring up the self-noise in the recording?
I know its pretty late but if it still hasn't been solved use something like ReaFir to sample the noise first and then subtract it. Works everytime.
izotope rx denoiser
I know it’s really late but I’m posting in case somebody else needs some advice everything is going to have some background noise. I currently have one of the best microphones you can get for vocals that’s not over $1000 and it still has some background noise. Use a vocal gate to solve this problem easily. If you aren’t referring to background noise but more like a buzzing sound, your mic is probably busted.
Hey Graham what do you think about the ua la-2a??
nice song
Thank you💯
So is stacking vocals still necessary with this type of compression?
Yes. Especially if you want that thick tone with texture and a bit of spread.
Nothing is necessary.
Do you put compression in before or after an effect like reverb
Moe Ali compress before putting effects. Put delay and reverb at the end of the chain to avoid muffle/muddy vocals. It doesn’t always happen, but sometimes compressing after putting effects can make your mix sounds mediocre.
reverbs should be placed in your sends. Compressors on the audio track before/after EQ. I personally prefer in between two EQ's. time-based effects should always be placed last.
Moe Ali compression before!
I think any producer will agree to not put any effects plugins before compression because that most likely to muddy-up your mix. (Especially vocals)
I think it's can be good to compress reverb aux tracks too. But not all the time.
What about keeping the dynamic tho? Isn't this just loudness war?
No... loudness war happens in mastering.
What song is this?
Great sounding song
What's the song's name? 🚀
Graham Cochrane - Where Do I Sign
yout vocal track...is clipping, did you aah..see that?
In Pro Tools many people can think it is clipping, but there is an option to turn the clip height size up to basically fill the visible clip height but its not the true gain and doesn't correlate with or effect gain staging. Clipping is only audible and that is part of the point in having this I believe, prompts you to use your ears! (As well as being a useful tool to see low-level transients etc.)
@@lytemusicofficial sure...
@@allIhaveISMusic1 yeah you can only clip at the converters, the digital world of audio cant clip haha so unless the waveforms are square waves due to input clipping your ADC converter then its not actually clipping. Pro Tools just has a view option to increase waveform size. Ctnrl + alt scroll I think..
Great tutorial though!
Who does this killer tune?!
3:00 cla 2a comp
Very, very cool.
Thank you.
Vocals are the hardest thing to track and get it to sound good.
That isn’t necessarily true. If the engineer is any good at all, or even semi-competent, vocals are very easy to capture. Yes, the singer is important and maybe even mic and preamp combo matters, but capturing a voice with a transducer is as basic as it gets.
I would buy more Waves plugins if they weren't so damn complicated to install.
Waves wants you to build some character when you install their plugins
@@kylespencer2192 Haha yeah, I've gone beyond that into complete despair I think using Reaper aswell makes it even harder.
I thought the same, Emma, but I've noticed that - at least for my Pro Tools - it is pretty simple now. Just need the Waves Central application and install via that (also activating the license), then Pro Tools searches throughout my hard drive for the AAX's. While using Ableton last year, I had trouble installing them, but once everything went on sale recently, I decided to retry. What DAW do you frequent? It may just be better optimized for the Pro Tools file searcher on startup.
if ur using fl studio, you need to re-scan all plugins with all options enabled, shell, errors, etc.
It may take long time. For other daw like reaper I didn't need do all these things.
@@MYNAMEISKLAY Yeah I got Waves Central but then it got all messed up when i downloaded a newer plugin of theirs as the installer was no longer compatible. Im using Logic now so not even worrying about bothering with this anymore!
Awesome !
My channel chain goes like this:
HPF>COMP>EQ>COMP>LIMITER
Why do you need a limiter in front of two compressors? You're probably adding a lot of distortion you don't even need.
how do you know if you never heard it? @Ulisse
There's a sale on wave today I just got new stuff😋😋😋
thanks a lot
Instead of clipping the vocals into distortion/sibilance territory. Why not just turn everything else in the mix down?
because vocal needed compression
Nice!
Gold
Nice!!
It's called serial compression, not doublestacked
not even close :) there is just no reason to introduce your own term, when there is already one and it's widely used
hahah, you've shut me up there mate!! :D
old 70 rock songs didn't care for up front anything but the guitar😁
Oh no that's ruined the whole tutorial for me. I swear never to use this technique.
Well not all newbies would know what serial compression is. Saying double stacked kind of let's them know what he is talking about.
Do some rap mixing vocals
seems like it's just louder ...would love to see the gain output on both
not just louder, it's also compressed.
okay but why cant you just use one compressor? what
RyanBradley rewatch the video again
BLVCK yeah he never actually explains it..... just says keep stating that you need two
wont even sound same especially in la-2a, because it's program dependant compressor. Even for non-program dependant it will be different sound.
It is basicly just louder
B R I L L I A N T
!!!!!!!!!!!!!!!!!!!!!!!!!!
Serial compression