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Compressing vocals going in depends on your set up. Trouble is you can't undo it. using input controls to stop meters going into the red allows you to maximise the volume without clipping. I was always taught that the closer to the origin the highest possible setting makes for best signal to noise ratio, that is if you are using a usb interface or preamp (the first stage after the mic)you turn up as loud as possible without clipping and then in the DAW turn up the input volume to maximum without clipping so you maximise signal to noise. its logical if you think about it. if you have a low signal going in and then boost it at the DAW stage you're turning up any noise as well as the signal. as far as standing further away from the mic, some mics actually have a presence effect - for example close to a Shure SM58 boosts bass and many vocalists actually use the effect to enhance their vocals - simply swaying away for the loud bits (watch Tony Christie live doing Is this the way to Amarilllo!) https://www.youtube.com/watch?v=69xk1aBEL_E compressing a recorded track gives you greater flexibility although I do know with outboard effects some professionals do put a little compression on the input
Last edited by Bob Calver; 01/06/18 01:16 AM.
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Recording, Mixing, Performance and Production
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Compressing vocals going in depends on your set up. Trouble is you can't undo it. using input controls to stop meters going into the red allows you to maximise the volume without clipping. I was always taught that the closer to the origin the highest possible setting makes for best signal to noise ratio, that is if you are using a usb interface or preamp (the first stage after the mic)you turn up as loud as possible without clipping and then in the DAW turn up the input volume to maximum without clipping so you maximise signal to noise. its logical if you think about it. if you have a low signal going in and then boost it at the DAW stage you're turning up any noise as well as the signal. as far as standing further away from the mic, some mics actually have a presence effect - for example close to a Shure SM58 boosts bass and many vocalists actually use the effect to enhance their vocals - simply swaying away for the loud bits (watch Tony Christie live doing Is this the way to Amarilllo!) https://www.youtube.com/watch?v=69xk1aBEL_E compressing a recorded track gives you greater flexibility although I do know with outboard effects some professionals do put a little compression on the input Hi Bob, I don't understand what you mean by "Compressing vocals going in depends on your set up." or "trouble is you can't undo it." Maybe you can expand on your set up and the effect on the compressor in your setup. I normally think of vocal compression as an effect and independent of the signal chain. For instance, a signal chain is still complete and carries the audio signal regardless if a compressor resides in the signal chain or not. You control clipping either analog or digital clipping through proper gain staging (see 90db's comment above). Analog and digital clipping are different and the proper gain staging is different between the two. Gain staging is different between recording and live broadcasting. A separate mix is set up to properly record a live show that has different settings for gain, eq and dynamics for the recording feed from the FOH or stage monitor feeds. The highest volume without clipping is not the proper gain stage for a digital recording. The noise floor for digital is much lower than the noise floor for an analog signal. Thus there is much more available headroom in a digital recording and the signal is normally 6-12db lower and more care must be taken to not have digital clipping. Because of the signal/noise ratio of the digital path, there is a lot of flexibility to work with lower input signals. What you are calling a presence effect is actually called a proximity effect, an increase in the low frequency response when speaking closely into a microphone. Again, there is a difference in the desirability and benefits between live broadcasting and studio recording. Many singers employ the effect live but it is rarely desirable and more often avoided in studio recording. It is actually a poor recording technique for studio recordings because normally the changes in tone between close mic and the singer turning away or moving back from the microphone has to be 'fixed' in post processing. It is better to have less of these tonal and dynamic changes because it will take a lot more processing and time to correct. Live broadcasting is a lot more forgiving environment. Note that your example of Tony Christie is a live recording visually but the liner notes to the YouTube posting indicate the audio has been overdubbed with a studio recording from a CD and synced to the video and is not a true representation of how that audio actually sounded nor did it reflect what the sound engineer may have been required to do on the mixing board to compensate for Mr. Christie's mic techniques. A common way studios, both home, semi pro and pro increase the quality of their recording chain is to use a Channel Strip. A channel strip will have a high quality or boutique preamp, a compressor and an EQ. Using a channel strip along with a quality mic can make recording into consumer grade interfaces and digital recorders like the Zoom models, Tascam DP series recorders and similar models record high quality, professional grade audio.
BIAB 2025:RB 2025, Latest builds: Dell Optiplex 7040 Desktop; Windows-10-64 bit, Intel Core i7-6700 3.4GHz CPU and 16 GB Ram Memory.
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I learnt a lot of my mixing from my days as a TV producer recording music for jingles or backing tracks for films.
With a professional desk you can compress the vocal signal before it hits the tape (as it was in my day) or the digital recording.
But once you've recorded a compressed signal that's what you've got. You can't uncompress it.
Whether you can compress an incoming signal before it hits the DAW I'm not sure and it will vary from set up to set up.
Some valve/tube preamps automatically compress the signal anyway and I occasionally use one before inputting an analogue signal for recording as opposed to a digital signal vis USB.
As to mic technique and the proximity effect I've found the booklet that came with my SM58 stage mic and it definitely says closeness boosts bass frequencies - and that would be lost if you reduce gain by standing further from the mic.
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Recording, Mixing, Performance and Production
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I learnt a lot of my mixing from my days as a TV producer recording music for jingles or backing tracks for films.
With a professional desk you can compress the vocal signal before it hits the tape (as it was in my day) or the digital recording. Charlie : I agree. I have a Presonus Eureka Channel Strip that I can send the line out to my Audio Interface when I input my signal or I can use an Aux Send and use it as a post effect.
But once you've recorded a compressed signal that's what you've got. You can't uncompress it.
Charlie : I agree. But the same can be said for the lead guitarist that mic's his amp and records all of his pedal effects and tone. There's nothing wrong with recording the input with effects or dynamic processing as long as the tone and effects are what is desired.
Whether you can compress an incoming signal before it hits the DAW I'm not sure and it will vary from set up to set up. Charlie : You can record across input signal as a channel insert. It can be hardware or software.
Some valve/tube preamps automatically compress the signal anyway and I occasionally use one before inputting an analogue signal for recording as opposed to a digital signal vis USB.
As to mic technique and the proximity effect I've found the booklet that came with my SM58 stage mic and it definitely says closeness boosts bass frequencies - and that would be lost if you reduce gain by standing further from the mic. Charlie : I agree. We are talking about the same thing and it may just be a colloquial difference.
BIAB 2025:RB 2025, Latest builds: Dell Optiplex 7040 Desktop; Windows-10-64 bit, Intel Core i7-6700 3.4GHz CPU and 16 GB Ram Memory.
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Recording, Mixing, Performance and Production
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From all post under your question list, I guess you already know the answer of your issue. So here, let's me to share my experience of recording audio tracks from videos. As for recording audio from video and any vocal audio, the one I use is TunesKit Audio Capture, which can support multi-track audio grabbing. And it’s can keep or edit all original ID3 tags. Also it can save and record the recorded audios as MP3, AAC and other popular audio formats. If you would like to cut the unwanted segment and get a fascinating audio track, this audio recording software can do this well.
Hope this post can help you to solve you question freely.
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Ask sales and support questions about Band-in-a-Box using natural language.
ChatPG's knowledge base includes the full Band-in-a-Box User Manual and sales information from the website.
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Band-in-a-Box 2026 Video: AI Stems & Notes - split polyphonic audio into instruments and transcribe
This video demonstrates how to use the new AI-Notes feature together with the AI-Stems splitter, allowing you to select an audio file and have it separated into individual stems while transcribing each one to its own MIDI track. AI-Notes converts polyphonic audio—either full mixes or individual instruments—into MIDI that you can view in notation or play back instantly.
Watch the video.
You can see all the 2026 videos on our forum!
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Join Tobin as he takes you on a tour of the new user interface in Band-in-a-Box® 2026 for Windows®! This modern GUI redesign offers a sleek new look with updated toolbars, refreshed windows, and a smoother workflow. The brand-new side toolbar puts track selection, the MultiPicker Library, and other essential tools right at your fingertips. Plus, our upgraded Multi-View lets you layer multiple windows without overlap, giving you a highly flexible workspace. Many windows—including Tracks, Piano Roll, and more—have been redesigned for improved usability and a cleaner, more intuitive interface, and more!
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Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 21 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
Introducing XPro Styles PAK 10 – Now Available for Mac Band-in-a-Box 2025 and Higher!
We've just released XPro Styles PAK 10 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 28 RealTracks and RealDrums!
Few things are certain in life: death, taxes, and a brand spankin’ new XPro Styles PAK! In this, the 10th edition of our XPro Styles PAK series, we’ve got 100 styles coming your way! We have the classic 25 styles each from the rock & pop, jazz, and country genres, and rounding out this volume's wildcard slot is 25 styles in the Praise & Worship genre! A wide spanning genre, you can find everything from rock, folk, country, and more underneath its umbrella. The included 28 RealTracks and RealDrums can be used with any Band-in-a-Box® 2026 (and higher) package.
Here’s just a small sampling of what you can look forward to in XPro Styles PAK 10: Soft indie folk worship songs, bumpin’ country boogies, gospel praise breaks, hard rockin’ pop, funky disco grooves, smooth Latin jazz pop, bossa nova fusion, western swing, alternative hip-hop, cool country funk, and much more!
Special offers until December 31st, 2025!
All the XPro Styles PAKs 1 - 10 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 10 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Introducing Xtra Styles PAK 21 – Now Available for Mac Band-in-a-Box 2025 and Higher!
Xtra Styles PAK 21 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest Xtra Styles PAK installment—the all new Xtra Styles PAK 21 for Band-in-a-Box version 2025 (and higher)!
Rejoice, one and all, for Xtra Styles PAK 21 for Band-in-a-Box® is here! We’re serving up 200 brand spankin’ new styles to delight your musical taste buds! The first three courses are the classics you’ve come to know and love, including offerings from the rock & pop, jazz, and country genres, but, not to be outdone, this year’s fourth course is bro country! A wide ranging genre, you can find everything from hip-hop, uptempo outlaw country, hard hitting rock, funk, and even electronica, all with that familiar bro country flair. The dinner bell has been rung, pickup up Xtra Styles PAK 21 today!
In this PAK you’ll discover: Energetic folk rock, raucous train beats, fast country boogies, acid jazz grooves, laid-back funky jams, a bevy of breezy jazz waltzes, calm electro funk, indie synth pop, industrial synth metal, and more bro country than could possibly fit in the back of a pickup truck!
Special offers until December 31st, 2025!
All the Xtra Styles PAKs 1 - 21 are on special for only $29 each (reg $49), or get all 21 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 21.
Video: Xtra Styles PAK 21 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 21 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
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