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RealBand
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I have a question that I should know. . . but. . .
There is a gal at work that has agreed to do some Christian vocals for me. She has a very dynamic voice, and I plan to record her in Real band. To prevent clipping, when she "nails it" , are the effects within Real Band, real time, or are they added after the recording. Should I use compression or limiters as I am recording, or can I turn on say, PG dynamics and PG limiter within Real band to record with. I want to be all ready when she comes over, so I don't waste time .
Thanks,
Gene
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RealBand
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Plugins are after the fact. Use outboard hardware on your session. You'll save time and be able to optimize it later.
R.
"My primary musical instrument is the personal computer."
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RealBand
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After all of the discussion of ASIO drivers this is one instance to use them. Yes you can insert the PG Peak limit for recording.You need to change to ASIO and check " enable input mon. and check allow IM effects.
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RealBand
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While use of ASIO and IM effects can allow the use of effects in realtime, in this particular instance, that of a vocalist with wide dynamic range, it won't provide protection against overloading the input analog circuitry nor the A-to-D of the soundcard because the plugin only works on the digitized numbers and not on the actual real signal.
The way to record the vocalist is either straight in with lowered input gain such that the loudest part sung will not push to 0dB clip point, getting the gain back after the fact with the gainchange algorithm plugin if need (or pgdynamics compressor plugin or a combination of the two) OR -- place a hardware compressor unit adjusted accordingly in series between the mic and the soundcard input. Set the compressor up as a soft Limiter only. Insurance.
--Mac
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Follow Mac's advice. It makes perfect sense.
If the signal distorts on its way into the computer, there is nothing a realtime effect can do to change it. The actual conversion from analog to digital signal will contain the distortion already.
Having a low vocal signal will be MUCH easier to fix.
Don't let her hold the mic, have it on a stand - this will help with volume fluctuations from mic movement. Some singers tend to bring the mic in closer when the sing louder, instead of moving it out like they should, and this would only compound the problem. Bringing the mic in is a natural reaction from the body tightening (contracting) to produce the louder volume, and takes disciplined practice to overcome.
I do not work here, but the benefits are still awesome
Make your sound your own!
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RealBand
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Correct. I didn't think that one through for sure.  
Last edited by silvertones; 05/01/09 09:26 AM.
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Absolutely correct. The outboard compresssor with a good mic preamp is the best way to go in my opinion. If the outboard gear is not accessable, then work with a lower gain setting and a fixed mic placement with a pop screen if possible. If you have a PA amp head with built in compressor, this could help as a work around.
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Thank you all.
I do have a hardware compressor. Can someone refresh my memory about compression? Mine has the following settings:
Threshold- from -54 to zero
Ratio- 1to infinite, 1/8, 1/4,1/2
Attack 1.0 - 20.0
Level
I am not too worried about the singer hitting low volume notes, that need to be bumped up, as much as hitting those unexpected peaks. I used to just ride the volume sliders, but electronically, I should be able to respond faster with a compressor.
what are some "stock" settings for a starting point. And what would I increase to handle clip?
Thank you in advance.
Gene
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Threshold - the level at which the compressor kicks in
Ratio - the amount of compression applied to a signal that goes over the threshold
Attack - how quickly the compressor handles any transients over the threshold
Level - the adjustment of the signal overall after it leaves the compressor.
(These are usually the settings, but even these can be different, as there are upward and downward compressors)
The compressor works in this way-
For example the threshold is set at -12dB
This means any signal going over -12dB wiil have compression applied, but how much?
The ratio decides how much; at 2:1 if a signal goes over -12 by 6dB (for example) at a 2:1 setting the compressor will make the 6dB over become 3dB over, so instead of going over the threshold by a certain amount the compressor will cut that signal that goes over the threshold by the ratio chosen. Everything under the threshold is untouched.
The attack decides on how fast the compressor tries to adjust those signals. Often very quick will work, if it starts sounding funny, adjust.
There is no magic setting; it will be determined by the mic, the preamp, and mostly the performer. She may need a threshold of -6dB with a high ratio, and quick attack. This will act more like a limiter, which is really what you want.
I do not work here, but the benefits are still awesome
Make your sound your own!
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rharv;
Thank you. About the quick attack? If my compressor goes from 1-20, a 20 would be quicker than 1 ?
Gene
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Typically the lower number is the faster attack. Also it is typical that those numbers are in milliSeconds.
--Mac
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I'm glad to hear about the HW compressor. I have not gotten into this area but if I could ask.
What is a reasonable/cheaper brand and are they single channel or more.
Recording in the church has caused the same problems with overloading the vocal track and having a keyboard track that may peak out too.
There maybe other issues as well but I thought I would get some help on these as well. thanks Wyndham
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Find yourself a DBX 166A. Two Channel compressor, limiter, gate.
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