dbx is the usual first choice for budget compression. The dbx 166XL is decent for a bit over $200. The 266 is cheaper. There are other brands worth considering, like RNC.

Consider that if his voice is compressed in the monitors he may have trouble singing. If you have a spare channel, use an XLR Y-cable and put his voice into two channels. Use one with the compressor for the audience, and the other without a compressor for the monitors.

The dbx 166XL is the least expensive compressor I've found that performs the way I feel a compressor should. There are less expensive makes and models (including one by dbx) that I don't think quite measure up. Most of the cheap units I've come across in my field work are basically useless.

And since the 166XL is dual channel, you can put one on your lead vocal and use the other for whatever you would like control over. Gates and limiters on both channels as well for even tighter control. As far as ease of use, you can use it on your channel inserts, or it has XLR and TRS 1/4" connectors to use inline where needed.

Other Options:
The RNC is a great compressor, available in a single channel or dual channel.
If you can find an old Yamaha GC-2020, I've had good luck with them too - but I don't think they make them anymore.

We may have an entirely different definitions of "reasonable budget", but there you have 3 very exceptional dollar value compressors the really work well in my opinion. (dbx,RNC,Yamaha)

Good luck!

Thanks loads!

I will have a look at all of them and see which floats my boat. I understand the feedback issue so cheers for that. Budget is fine from the suggestions too.

I want to try the old school (motown) treick - spliting the signal in two channels. then while the first ch is set normal with reverb,the other is heavy compressed and equalised with 5-8khz upfront serving as a fill. is this clever idea for live vocals on loud stages?

Any of the reasonably priced compressors mentioned would be suitable for that job.

Is this a clever idea, or "sensible", to use in a live band application as you asked in the other compressor thread...?

It depends on why you're doing it. If you have a really good PA and want to thicken up the vocal and gain a different level of control - I'd say sure, it's probably going to work as advertised. As a recording trick, this technique is time-tested and if you're doing Motown type material probably a direct hit.

On the other hand, if you're trying to compensate for a lack of power in the vocal delivery, or trying to milk a little more performance from an under-gunned live sound system the results may be less dramatic.

But if you've got a compressor - try it. You might find a method that is exactly what you're looking for, or discover a completely new trick you can share with the rest of us.

When recording, it's not uncommon for me to take a direct out of a channel and mix the original signal with a processed version returned through another channel. And live sometimes I see other bands with borderline PA systems using their subgroups to add more meat to something. Assigning the channel to the main mix plus 1 or more subroups forces the signal through yet another path of amplification within the mixer before it hits the main. It defeats the purpose of having sub-groups, but some guys would rather have that one extra decibel of perceived loudness. It's a common trick, but no substitute for adding more cabinets and more amps. Just like having a compressor in the chain doesn't excuse the singer from using good mic-technique.

Best of luck, I hope that's helpful in some way. If you try it let us know how things work out.

baze sax, post: 346908 wrote: I want to try the old school (motown) treick - spliting the signal in two channels. then while the first ch is set normal with reverb,the other is heavy compressed and equalised with 5-8khz upfront serving as a fill. is this clever idea for live vocals on loud stages?

I think my biggest concern is phase. Adjusting an eq changes the phase of the frequencies affected, which doesn't matter when there's no other version of the signal to compare it to. But if you split a signal, eq one differently from the other and then mix them back together you have a relative difference in phase which may have undesirable consequences. Adding dynamics to one will make the effect vary dynamically. It could be interesting or it could be a train wreck.

For less expensive and great live compression lets not forget the Symetrix 501 or the 525 and of course the Valley People Dynamiter. Both out of production but both easily found on flea-bay or other used sites.

hey,what about the safe sound p1 pre/compr? they claim this is "the smoothest on the planet". and it's half rack, portable,70db clean input,has expander/limiter, easy to set up and finaly is hand made in the UK.

baze sax, post: 346951 wrote: hey,what about the safe sound p1 pre/compr? they claim this is "the smoothest on the planet".

It's easy to claim things that can't be objectively quantified. The subjective opinions of engineers I respect carry more weight.

that's right too. but for 750$ it is a good deal. in that price range are also some nice ch strips like spl track one, drawmer mx60, focusrite voicemaster, ssl alfa etc with more features.

one more vote for DBX for live screamy out of control vocals.
try buying a used 1066(gate/comp/limiter) on e-bay.
i got one of those and it works really well for live vocals.
it does a lot of other things well also.

bouldersound, post: 346970 wrote: It's easy to claim things that can't be objectively quantified. The subjective opinions of engineers I respect carry more weight.

I have owned a P1. It works great in a recording environment, but in a live sound situation, they are too prone to induce feedback.

bouldersound, post: 344243 wrote: Consider that if his voice is compressed in the monitors he may have trouble singing. If you have a spare channel, use an XLR Y-cable and put his voice into two channels. Use one with the compressor for the audience, and the other without a compressor for the monitors.

It may also clip the monitors. Just try it both ways to see. Also see if he needs help eating the mic when he sings like an angel to get yourself an ounce of gain..

moonbaby, post: 347043 wrote: I have owned a P1. It works great in a recording environment, but in a live sound situation, they are too prone to induce feedback.

Increasing the likelihood of feedback is simply a function of makeup gain. The only way one compressor would be more prone to feedback than another would be if it had uneven frequency response.

Live Sound Audio, post: 347047 wrote: It may also clip the monitors.

How? I've never had that problem.

bouldersound, post: 347056 wrote: Increasing the likelihood of feedback is simply a function of makeup gain. The only way one compressor would be more prone to feedback than another would be if it had uneven frequency response.

That's not true. Most (if not ALL) compressors that utilize a set or floating threshold, rather than a manually-set Threshold, make poor choices for live sound due to the fact that they are constantly trying to pull up the gain on a weak source.
And while the P1 does have a Threshold control, its' interplay with the downward expander made things very askew, as the time constants of the expander were too slow to not interrupt the gain increases fast enough.

moonbaby, post: 347063 wrote: That's not true. Most (if not ALL) compressors that utilize a set or floating threshold, rather than a manually-set Threshold, make poor choices for live sound due to the fact that they are constantly trying to pull up the gain on a weak source.
And while the P1 does have a Threshold control, its' interplay with the downward expander made things very askew, as the time constants of the expander were too slow to not interrupt the gain increases fast enough.

Agreed. I didn't bother to look up the manual like I usually do. But then I'm not sure why a boutique preamp/compressor specifically intended and designed for studio use even gets mentioned in the context of live sound. At any level of live sound where it might be used there will be a separate monitor rig rendering the problem moot, and any issues with FOH feedback would be worked out in thorough soundchecks.

Ultimately its affect on feedback is still a simple matter of gain, even if there's no separate control for it.

bouldersound, post: 347072 wrote: Agreed. I didn't bother to look up the manual like I usually do. But then I'm not sure why a boutique preamp/compressor specifically intended and designed for studio use even gets mentioned in the context of live sound. At any level of live sound where it might be used there will be a separate monitor rig rendering the problem moot, and any issues with FOH feedback would be worked out in thorough soundchecks.

Ultimately its affect on feedback is still a simple matter of gain, even if there's no separate control for it.

Well,I have over the too many years that I've done recorded and live sound, run across performers that prefer to use
gear that is usually found in the studio. And how does a seperate monitoring rig render that problem moot? A soundcheck doesn't change the characteristics of a box, it simply aids in finding potential areas of concern.

moonbaby, post: 347076 wrote: Well,I have over the too many years that I've done recorded and live sound, run across performers that prefer to use
gear that is usually found in the studio.

Most of those I mix trust me to make them sound good without some special piece of gear. Fortunately, experienced singers generally know better than to compress their vocals in the monitors, especially after a bad experience with feedback or a strained voice. My fee goes up for the ones who don't learn.

moonbaby, post: 347076 wrote: And how does a separate monitoring rig render that problem moot?

Until your last post I had assumed the engineer chose to use the gear, and that it was at FOH where he had control. That and a separate monitor rig would keep it out of the wedges where most compressor/feedback issues would be.

bouldersound, post: 347057 wrote: How? I've never had that problem.

If the level was adjusted for his quiet voice then when he got loud it may overdrive the monitor amps and clip them. It was just an idea...to watch - I can't tell how loud they are!

What if the singer holds the microphone further away from his face when he's yelling at the top of his lungs?