so......don't over compress on the way in. I agree with that. I will add that I just produced a well known diva for a major label. She is an incredible
singer but microphones cower in her presence. I used a Manley SLAM! w/Gold Ref and a touch of ELOP
and for one song, a Req. Audio Pal w/C12 and she loved it. With her range of emotion and her dynamic capabilities, compression on the way in was
completely needed. I added some Waves in the mix
and it all worked.
Compression is probably the most dangerous tool but correctly used it can save your ass.
cheers,
chap

Originally posted by AudioGaff:
I hear, enjoy and experience more dynamic range out of all my old 33RPM records than anything I've ever heard released to the public from protools...

A client wants to have all his rare vinyls on CDR.
So my youngest son (who has never played any vinyl record) is doing the job for this client.

I installed a nice recordplayer, a phono preamp, a small board and a computer with Cool Edit Pro in his room.

We were testing the setup and recorded a 33 rpm vinyl into CEP, which I've never done before.

Boy, talking about dynamics! I've never seen so much dynamics in modern CD's.

Compressors: I track to two inch and mix to a tube master 1/4" 15 ips machine.

I don't compress anything on the way in and almost never on the way out.

Tape is the fastest and best sounding compressor. :p (IMHO)

Originally posted by Han:

Originally posted by AudioGaff:
I hear, enjoy and experience more dynamic range out of all my old 33RPM records than anything I've ever heard released to the public from protools...

I installed a nice recordplayer, a phono preamp, a small board and a computer with Cool Edit Pro in his room. Boy, talking about dynamics! I've never seen so much dynamics in modern CD's. See, I wouldn't lie to you....

Hey Clique...you still following this thread??

How refreshing it is to hear folks giving some genuine good advice. What a great forum! I am 47 years of age and have been recording music for over 30 years. I am currently in the process of purchasing all the necessary equipment for a MOTU system. I am still using ADAT and I am very aware of it's short comings, but also aware of it's tremendous compatability among users. I think that as an engineer in today's market of music and that other stuff, our job is to break down the musician's sound, track it, and then blend all the musicians back together again, a job that is very much like a conductor of an orchestra. There are some things that we do that would make the violin players croak, but yet we don't do much of anything to other players' sounds to make the final product pleasing to the ears. Compression, in my opinion is perhaps one of the most important keys to balancing the sound within a sound. I was pleased that Ray A. Rayburn was pleased with a Jazz recording that I did exclusively with Superlux mics, I made a short demo and sent it to him and he placed it on his website to use as a demo. Listen to it if you like.... http://www.superlux.us/
what a cool forum... I'll be back