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Mic
Pre
EQ
De-esser
compressor


in what order the last 3 and why?
Ed? Guys?



Jules
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I'll try first

The desser is just a compressor with very narrow band in the high frequency range. Kind of like a multiband compressor with only the high band selected.

If you have the compressor first, then you could get pumping from the ess content, so get rid of the esses first.

The EQ and compressor arrangement kind of depend on what you are trying to do. If you goose up some frequencies that will hit the compressor sooner, then you may not get the compression effect you want, on the other hand if there is too much of one frequency in the signal you may want to lower it before the compressor to smooth out the compressor response.

So.. it depends, and I do it both ways. EQ--Compressor, and Compressor---EQ.

Vocals I kind of like the compressor first, then the EQ can mask some of the compression artifacts if I am hitting the compressor too hard

Guess I skirted oround that pretty good, huh?

Roger

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Trick Question!!

There is no "correct" way to put these devises in any specific order.

Bad mic'ing job, or choice of mics, if you need a de-esser anyway, unless you just got handed the tapes to mix, and they were recorded like that.

I like to compress after EQ, since any greatly boosted frequency will be kept under control by the Compression, but then again you may color the EQ by Compressing it.

So really, the Compression and EQ should be worked simultaneously.

Sometimes, I may compress, then EQ, to clean up what I compressed.

Then again, I may Compress, EQ, and Compress again.

So I go back to my orginal statements.

No "correct" order.

It's all subjective and program dependent, and ALL of the signal processing in the chain should be adjusted simultaneously, until the desired results are achieved.

Who decided there were "Rules" about recording, anyway? :P


Bob Buontempo.

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Of cource, no rules just preferences, and theorys to go with them, theorys behind instints are the fun aspect of a web site like this, they give insight into the persons thought process.
Bring it on!
Jules.


Jules
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I have to go with mic pre, de-esser, compressor, eq......that's where I would start. But, a big but, it all depends. On vocals, eq after compression usually works the best for me, as I can stomp the vocal if I need to (to get it to stand up against big rock guitars, etc.), and then use the eq to shape the vocal, either to overcome some of the compression artifacts (as Roger suggests), or get it to sit in the track, but still be apparently present. For me also, as I am mixing and adding and subtracting musical elements (oh yeah, and don't forget turning the bass, snare, kick, reverb, etc. up and down, up and down, up and down), I can adjust vocal eq without have to keep resetting the threshold, ratio et.al. of the compressor. For me, in this situation, the eq works better after the compressor. With some other instruments, especially things with low freq info, like the bass, or even electric guitars, shaping the input to a compressor with eq can be a really effective technique, with your equalizer shaping the way your compressor acts on the program more than actually shaping the tonality of the instrument. As regards the de-esser, I have found myself many times 99.999% done with a mix, with the vocal sounding right through most of the song
except for a couple of sibilant spots, so I may add the de-esser last in the vocal chain set to just grab the nasty bits necessary. By the way, a de-esser can work really well to get rid of some string and finger squeeks on accoustic guitars....oh yeah, I forgot, you Pro Tools Guys can go in and just shape those nasty bits at will.
ed c

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what a vague question. sometimes i would only use 1 of the 3, sometimes none. rarely all three. and like roger said, the de-esser is two of the three combined.

personally i like to use none of the three if i can help it.

i cant commit that much going to tape, better left to the mix.

chain=mic+pre


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Alpha:

Afraid of commitment?

I usually find the best recordings are printed that way, except for, maybe effects. When you pull all the faders up, and it just comes together with a little tweaking, and add your reverbs and delays, maybe some more compression or stuff, it sure beats the hell out of having to wrestle with everything to get anything to work.

I love mixing well recorded tapes.

Of course there is also a great challenge out of polishing a turd, but if I am going to record AND mix the stuff, I sure like to have the monitor mix sound as close to the final mix, right from the top.

Then, it only gets better, and can help in the arrangement, and overdubs, since one can tell if something is going to work right from the time of recording it, not leaving it to a decision later, that may require flying parts around, mutes, extreme EQs, etc.

But everyone has there own way of working.

I'd rather not have to "Fix it in the Mix"



Bob Buontempo.

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Also Hanging at: http://recpit.prosoundweb.com

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