He was describing the brilliant trick of using two VCAs, one to push the channels into their bus compression and the other to simultaneously pull all the bus faders down, to add density to the mix but not obvious level. In that context he said to preserve the stereo image he did not link the compressor channels.

I'm still getting it different than you on that one. I totally get what he's saying and not really hearing what you are discrediting him on but I appreciate your close attention the whatever it is. I used to link bus compressors but no more. And I've have a few world class ones. ITB comps are better at that anyway. At least in my workflow now.
fwiw, I just posted that Video you are talking about, specifically in reference to VCA and how he uses them. Its the best explanation I've read/ listened to so far. Whats your take on them? Did his approach to them sound like bunk to you?
It was pretty interesting, i loved the video. I've never used VCA on a DAW so I'm really keen on learning their use which I get now! We just got them added to Sequoia 13 a few weeks back so his approach and explanations was really interesting, spot on to me.

Back to kyles OP. I've never used polarity like that live but again, wow, It makes total sense. I do know crowd movement, pushing audio pressure back at you when the PA is cranked will add to feedback. Same with a breeze. When you stop playing between songs and you don't have gates, that's when feedback can increase. So, pretty cool how he uses polarity to control that. What do you think?

I can't watch the video right now, but if it's about that push the channels, pull the buses thing it's brilliant. And it probably doesn't matter if the stereo image is preserved in a concert setting. I'm sure it sounds fine. He's the one mixing RHCP while I spout off on the internet so...

If I were having feedback issues and had polarity switches I would try them. I think Dave is right on about all that, other than the 180° mic thing.

bouldersound, post: 426849, member: 38959 wrote: It was actually something he posted on a another pro sound forum on their live audio board. If the gain reduction doesn't match on both channels it will make things panned close to the center move around in the stereo field. That probably works okay live and/or when the group's inputs are all panned hard, but technically it's not maintaining the stereo image.

It works for a dual-mono pair of channels, but not (usually) for a pair of channels representing a stereo image.

In my view, he should be using grouping (mono or stereo) for compression only where the whole group gets the same compressor treatment (mono or linked stereo). It's no shame to have, for example, 3 vocal channels each effectively as its own group, with compression done at the group stage and then panned to the correct place in the final stereo image when mixing the groups into the master.

Boswell, post: 426868, member: 29034 wrote: It works for a dual-mono pair of channels, but not (usually) for a pair of channels representing a stereo image.

In my view, he should be using grouping (mono or stereo) for compression only where the whole group gets the same compressor treatment (mono or linked stereo). It's no shame to have, for example, 3 vocal channels each effectively as its own group, with compression done at the group stage and then panned to the correct place in the final stereo image when mixing the groups into the master.

I'm more along this as well.

I'm not much of a fan group compressing but this looks pretty clever to me.
I tend to compress sparingly, usually them for the mono suspects and leave 2-bus comps for the final mastering, and thats even a minimal.

He mentions why he uses comps and how he really is keeping the ratio at minimal, set equal on each group except for the vocals, which was to keep the vocals up front at all times.
The comps where only kissing each group.
The goal is to control the bands effects with an input and an output VCA so the effects don't change as he adjusted volumes during the performance.
It was also so nothing changed as he used VCA's to control fast tempo'd or very dynamic slow music. Those big Rock ballets!
I think its quite brilliant actually and I'm sure to try his concept on the next studio mix. I'll share my experiences on how it goes.

I don't mean to alarm anyone, but Remy had been harping on for years about reversing the phase of the kick drum for that very reason (positive and negative pressure).

I believe there's validity to it, I don't always prefer the tone. I wouldn't be surprised if some of the premiere kick drum mics don't already compensate for that in their pinout- knowing full well that 99% of their customers use them for kick.

So to me the moral of the story: There are no rules set in stone, what works for one - may not work for all, know your gear, take the time to experiment.

Indeed Dave, as there are other gems in the forest she has mentioned. :love: Remy is brilliant in an incredibility distracting fashion. It took a video and the diagram for me to see this one better.