Honestly.. Your videos are freaking awesome. You doing these tutorial as straight, simple and informations related to the specific topic you are talking about. No confusion no long talking without aims. 👍👍
This was so helpful! Thank You! No one else explains the why's - just the what's and this style of vids is priceless! Please, more of that - how to use compression instead of how to use a compressor. Or other tools/effects of course.
Solid gold, Joe - thanks! I watched this video ages ago but forgot the settings. Your videos are the best - so straight-forward and with no fluff. And you even have stock settings! A true gent. 🙂
And for this I thank you. Couldn't find anyone to explain it as eloquently as you sir. LA 2A style...the release confused me😂😂😂 what's a decent ms to set. Could I just use 15ms or what was it 60 or 16ms?
Well done, as usual, an calmly, clearly explained - always appreciate the factual, useful, no-bull and no ego showboating attitude in your videos. When tracking I often go 20:1 on the 1176 (or clone), as 12:1 on most revisions tend to sound somewhat brighter then 20:1, or perhaps it's the 20:1 that sounds darker, and tend to go even faster on the attack time, while doing a bit less compression than shown here on the LA2A (or other opto). Come mixtime, I prefer a super transparent plugin limiter again just barely shaving off peaks, and after that either a more neutral compressor for level control and shaping, or, for extra enhanced character and "vocal bark", the opposite combination, with an opto first, and an 1176 after, to squeeze out the front of words and enhance diction & impact. All of the above in my opinion & experience, of course. Keep up the excellent work with this channel (just... pssst, please take care of that buzz on the vocal mic for your speech, the gating/expansion doesn't hide it well and distracts from otherwise top notch content;)))! AF
Nice tips! This is just one way to do it for general leveling purposes, but really these two compressors can be used in so many different ways for different effects.
Your voice recording has some ringing sound check your cabling. ... I want to thank you for this free knowledge. You have demonstrated that indeed you can work with stock plugins and still get the sound . You just have to know what you are doing and why. Bless 🆙
Can't say enough how much I appreciate your videos. Always so clear and concise. Would you mind sharing how you solo and mute adjacent tracks with a single click in S1? Did you create a macro? And if so, is it shared on the Presonus Cloud?
yes! you can simulate the behaviour of a 1176...But the attack/release reponse variations of the material of the LA2A is beyond math! And it gives some spark, sizzle, that helps to get clarity!
Damn so this is how most people use this chain. I thought the most Gain reduction in the 76. I usually set the 1176 and aim for about 10-20db gain reduction (if the vocals recorded without compressor) and 3 db for the LA2A, gotta try it the other way around
There's no wrong way to do it. Plenty of people slam the 1176. This way just has the fast compressor catch the peaks and the slow compressor do the leveling.
I tried to study this video bc it's incredible but now I'm nervous again going in to track vocals! Is it best to max the Neve preamp gain at the start of the chain and THEN use the compressor chain 1176-LA2A to control volume level? OR is it best to get a healthy signal from the preamp and let the LA2A Make the signal louder at the end of the chain? Thanks in advance you are amazing.
I don't really use much compression when tracking, maybe a couple dB if I use any at all. The setup described in the video is more for the mixing stage after the vocals are tracked. So, healthy signal from the pre, shooting for about a -18 to -15 dBFS average level. You can always get more gain out of the vocal later, but it's tough to fix a vocal that's tracked too hot.
No rules. Personally i prefer the order of this video for the faster compressor to catch the peaks first, especially in more upbeat music with snappier vocals.
“Emulations of classic hardware compressors” - ‘we use fake stuff just like most other people, but we leave out the word ‘plug-Ins’ because we like the Clickbait’…. There…fixed your title and description for you. So annoying.
The 1176 is too fast for effective use on vocals. Even the slowest attack and release are too fast. Use the 1176 on drums. The LA2A should be used in sequence first, followed by a compressor with time constants faster that LA2A but slower than 1176. Fairchild was used here. More modern compressors like Waves Renaissance Compressor and Voxengo Deft Compressor are often better choices.
Wouldn't it be the opposite of what you're saying? A fast compressor is actually bad for drums because you lose the transients with a fast attack time. But with vocals, you don't really don't have sharp transients, so attack is way less critical.
@@TimmSpinn everything has an attack. Just at different speeds. Drum attacks are the fastest. You use a fast compressor here. Because you don’t use it to kill the peaks. You use an attack which lets them thru. Then immediately after you wanna compress and build the body. Most of the available compression back in the day wasn’t nearly fast enough to do this on drums. The 1176 finally could do it. It’s also capable of being too fast. Which is what you are talking about. It can be helpful to use 2 compressors in series. A slow one first to handle slower level changes. Then a fast one after to carve the sound. By putting the slow first, it doesn’t interfere with the fast transients.
Honestly.. Your videos are freaking awesome. You doing these tutorial as straight, simple and informations related to the specific topic you are talking about.
No confusion no long talking without aims.
👍👍
Thank you!
one of the best audio channels from youtube!
This was so helpful! Thank You! No one else explains the why's - just the what's and this style of vids is priceless! Please, more of that - how to use compression instead of how to use a compressor. Or other tools/effects of course.
Solid gold, Joe - thanks! I watched this video ages ago but forgot the settings. Your videos are the best - so straight-forward and with no fluff. And you even have stock settings! A true gent. 🙂
I'm loving all the new video drops joe!!! Great as always man🤘
Thanks! I've been trying to get a more consistent schedule lately, hopefully a new one every M,W,F.
Extremely well done!
Great video. And the difference between the stock plug-ins and the UAD ones is night & day. The UAD plug-ins really do give you that pro vocal sound.
this is so easy to understand, great video, thank you!
Fantastic video! Thank you!
Great video!
Great Video. Thank You so Much. Excellent!
Hey thank you! I use that technic with nebula acustica ( Tim P UA76) .
Great video.
very detailed and comprehensive
And for this I thank you. Couldn't find anyone to explain it as eloquently as you sir. LA 2A style...the release confused me😂😂😂 what's a decent ms to set. Could I just use 15ms or what was it 60 or 16ms?
Well done, as usual, an calmly, clearly explained - always appreciate the factual, useful, no-bull and no ego showboating attitude in your videos.
When tracking I often go 20:1 on the 1176 (or clone), as 12:1 on most revisions tend to sound somewhat brighter then 20:1, or perhaps it's the 20:1 that sounds darker, and tend to go even faster on the attack time, while doing a bit less compression than shown here on the LA2A (or other opto).
Come mixtime, I prefer a super transparent plugin limiter again just barely shaving off peaks, and after that either a more neutral compressor for level control and shaping, or, for extra enhanced character and "vocal bark", the opposite combination, with an opto first, and an 1176 after, to squeeze out the front of words and enhance diction & impact.
All of the above in my opinion & experience, of course.
Keep up the excellent work with this channel (just... pssst, please take care of that buzz on the vocal mic for your speech, the gating/expansion doesn't hide it well and distracts from otherwise top notch content;)))!
AF
Nice tips! This is just one way to do it for general leveling purposes, but really these two compressors can be used in so many different ways for different effects.
Wonderful tutorial.
Thanks!
thank you
Your voice recording has some ringing sound check your cabling.
... I want to thank you for this free knowledge. You have demonstrated that indeed you can work with stock plugins and still get the sound . You just have to know what you are doing and why. Bless 🆙
So warm
My fav
Can't say enough how much I appreciate your videos. Always so clear and concise. Would you mind sharing how you solo and mute adjacent tracks with a single click in S1? Did you create a macro? And if so, is it shared on the Presonus Cloud?
still the stock compressor feels a bit more compressed, but thank you for nice video, like it how you explain it..!
yes! you can simulate the behaviour of a 1176...But the attack/release reponse variations of the material of the LA2A is beyond math! And it gives some spark, sizzle, that helps to get clarity!
Ive always used them the other way around. Like literally the first thing I put on a vocal chain is an LA-2A
It can work either way!
Damn so this is how most people use this chain.
I thought the most Gain reduction in the 76.
I usually set the 1176 and aim for about 10-20db gain reduction (if the vocals recorded without compressor) and 3 db for the LA2A, gotta try it the other way around
There's no wrong way to do it. Plenty of people slam the 1176. This way just has the fast compressor catch the peaks and the slow compressor do the leveling.
hey joe! i was curious to know how you might differ your settings with an analog la-2a vs the plugin :D?
I don't have an analog LA-2A, so I can't be sure. Assuming the plugin behaves similarly, I would set it the same way.
Just wondering why you didn't use the Studio One fat channel for stock plugin demo? It has an 1176 and La2a style plugin.
Tried to make it applicable to any DAW.
I tried to study this video bc it's incredible but now I'm nervous again going in to track vocals! Is it best to max the Neve preamp gain at the start of the chain and THEN use the compressor chain 1176-LA2A to control volume level? OR is it best to get a healthy signal from the preamp and let the LA2A Make the signal louder at the end of the chain? Thanks in advance you are amazing.
I don't really use much compression when tracking, maybe a couple dB if I use any at all. The setup described in the video is more for the mixing stage after the vocals are tracked. So, healthy signal from the pre, shooting for about a -18 to -15 dBFS average level. You can always get more gain out of the vocal later, but it's tough to fix a vocal that's tracked too hot.
@@GreenLightSound you're totally right! Can I still track with mild compression? Just to get a better vocal take? :) or is it best to track dry?
@@ryancohenmusic Either way can work. Many engineers track with mild compression, some don't.
whats the difference it would make between using the stock compressors and the compressors you showed? if there is any
The studio one compressors In Fat Channel do model the same ones as these do. They're good too.
Question , l always read that the ratio should be 3:1 ratio and barely hittin about 2-3db for the 1176, l mix hip hop rap vocals
Not always. You can compress at different ratios and gain reduction amounts for different results.
Bobcat Goldthwait's lost vocal tracks 😮
Idk if it's just me but i find the e in be too loud and i don't know if it's the recording or the compression
Slate make first La2a and after 1176 on vocals… why?
Just did this on my last vocals, sounds great
No rules. Personally i prefer the order of this video for the faster compressor to catch the peaks first, especially in more upbeat music with snappier vocals.
Which is better for vocals
Both are great, but if I had to pick one I would go with the la2a.
why choose such a high ratio?
To make sure it flattens the peaks. It's only reacting to those, so the ratio isn't as dramatic as it seems.
@@GreenLightSound nice thanks, Ive used this setup for years now but I’m going to try with this ratio
“Emulations of classic hardware compressors” - ‘we use fake stuff just like most other people, but we leave out the word ‘plug-Ins’ because we like the Clickbait’…. There…fixed your title and description for you. So annoying.
The 1176 is too fast for effective use on vocals. Even the slowest attack and release are too fast. Use the 1176 on drums.
The LA2A should be used in sequence first, followed by a compressor with time constants faster that LA2A but slower than 1176. Fairchild was used here.
More modern compressors like Waves Renaissance Compressor and Voxengo Deft Compressor are often better choices.
Wouldn't it be the opposite of what you're saying? A fast compressor is actually bad for drums because you lose the transients with a fast attack time. But with vocals, you don't really don't have sharp transients, so attack is way less critical.
@@TimmSpinn everything has an attack. Just at different speeds. Drum attacks are the fastest. You use a fast compressor here. Because you don’t use it to kill the peaks. You use an attack which lets them thru. Then immediately after you wanna compress and build the body. Most of the available compression back in the day wasn’t nearly fast enough to do this on drums. The 1176 finally could do it. It’s also capable of being too fast. Which is what you are talking about.
It can be helpful to use 2 compressors in series. A slow one first to handle slower level changes. Then a fast one after to carve the sound. By putting the slow first, it doesn’t interfere with the fast transients.
Yet many of the greatest mixers in the world use them 😂😂😂😂
@@Two_Seat_Pete_FatA55 and you have no clue why.
@audionmusic2787 some of the best mixers in the world use the 1176 before an LA2A...but you know better than them with your 2 subscribers lol