Sonar compression

[sorrowthief]

I have ardvark q10, sonar 3, alesis m1 active monitors, and a cabnit of moderate to decent mics. My question is 2 part really. First off, i dont feel that Im getting the quality that I should with vocals. The ardvark is very hot but when it comes down to tracking i would rather keep the vocalist close to the mic than for them to pull away on the high or loud notes. When they do this I seem to get a more distant sound. I lose base in there voice and tone over all. Would it benifit me to track with compression so that I can keep them from blowing the mic up, while keeping them closely miced? Also is it possible to insert comprresion on the track while recording with sonar3 using the shipped plugins? If not or if thats not the best way to do it, what compressor do you suggest as far as outboard goes. Ive heard a lot about the RNC, and dbx compressors? IS a compressor what I really need right now to start making my stuff sound better or is there something more important I should be focusing on. Any input is greatly appreciated. By the way Im very new at recording. Thx!

 

[sdevino]

Why don't you just turn the mic pre gain down a little? Or ride the gain on the loud parts if necessary?

You need an external limiter if you want to nip the peaks, but it needs to be placed between the mic pre and the ADC so it won't prevent mic overload.

Using a plugin will not help prevent overs since the plugin will be after the ADC.

If you record at a lower level you can use either a plugin or an external pre which ever you find easiest to use.

Steve

 

[Kurt Foster]

I think the Q10 has insert jacks so that you can patch analog devices into the signal path prior to A to D conversion. This is where you would patch a compressor into the signal path.

I have never used a RNC so I can't speak from expierence, I use Urei Millennia and Manley comps myself.. but they are supposed to be pretty good for the price.. The DBX comps are ok as long as you don't expect too much out of them and don't push them to hard..

Steve is right, get a pop filter screen and place the singer close in on the mic.. and turn down the gain.. the only reason you need a compressor is if when you turn the gain down a bit, the softer passages get buried. Most people look at comps as a tool to prevent overloads but what they really do is increase the gain of softer passages..

 

[sorrowthief]

So what your saying Kurt is that since im compressing the louder single i will be able to bring the overall volume up so that the softer parts are heard and just as loud as the hard parts? That does shed some light on things a bit for me. Thanks a lot for you guys giving some input on this for me. Im sure you will hear from me more soon. I dont know jack but it seems like I can find out all I need here..

 

[Kurt Foster]

You got it sorrowthief.. see you know more than you think.. :tu:

 

[RaySolinski]

Are you recording in 24 bit? If so there is no need to compress or limit during tracking unless you want to use it as an "effect"...You only need to peak at -12 or so to get all of the digital audio spectrum in 24 bit recording...16 bit is a different animal...just make sure your tracks are clean and you can raise the volume all you want during mixing.. the advantage of 24 bit...if you are overloading the mic with loud singing (not your adc or pre) then all of the limiting in the world won't help, you need to use a mic with a pad (or a less sensitive mic)..

Ray

 

[jdier]

Sorrow, it does not make much sense that your signal is too hot in the Q10. Have you opened the control panel and worked with the trim settings? The ONLY time I have had a problem with the Q10 being "too hot" as you say is with a very loud drummer and a couple of SP B1's that do not have pads.

For vocals, I have never had this problem. I think you need to work in the control panel of Q10.

 

[Pez]

Jdier is right. Open up the control panel. It's got three pad volume options at the top of each track. Choose the one on the right if you're mic is super hot. Get the artist close to the mic so you get the proximity effect that you say you like. Adjust the gain leaving enough headroom so that when you EQ later you still have some room to move before hitting into the red.