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Old 03-26-2010, 11:14 AM   #58
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Join Date: Apr 2008
Posts: 259

Originally Posted by cerendir View Post

2. Drum compression. I'm not quite sure to go about it to get the desired sound. I really love a lot of the 70s drum sounds because they have a lot of detail, especially on the snare. You can really hear all those tickety-tickety ghost notes happening. I'm guessing compression comes into play here, but I don't know if it was common to use compressors on separate kit pieces. Should I aim for full kit compression only, or add a comp on strategic pieces as well, like the snare?

3. The Antress Fairchild clone makes absolutely no sense to me. I'm not good with compressors to begin with, and presented with a set of unorthodox parameters like that, I'm mostly just scratching my head and twisting knobs at random. Anyone have any tips on how to use it properly?

4. Tape saturation is bascially a cumulative effect, right? Meaning, just smacking a tape saturation plug on the master will not yield the same result as using it on every track? It stands to reason that this is so, seeing as how the saturation happens when an individual track is recorded to tape, I just want to check that my thinking is right.

5. Here's a wild thought. I don't have a guitar amp anymore (haven't played in a band for ages), I always just D/I my Zoom preamp and add a cab sim (Voxengo Boogex) with some nice IR after the fact. While this works quite well for more modern guitar sounds, it's hard faking more roomy vintage tones with that approach. So I was thinking... what if I would stick a mic in front of one of my monitors and treat it like it was an actual speaker cab? I know it would work, technically, but would it be worth the hassle?

I believe technogremlin is right, this *is* turning into a science project. But that's part of the fun IMO.
2. Compress certain things individually, then parallel compress the drum mix.

3. use your ears. it takes a while to be able to hear compression, so if you really exaggerate it at first while playing with the settings, it should sink in. then you can back it off.

4. yes, correct. a wee bit on every track, then again on the master

5. re-amping using a monitor? sure, why not? let us know how it turns out.
"We're like geeky and shit: I'm hanging out on a message board about a recording program. It's kinda expected to be all up in arms about something as ridiculously abstract as 24->16 bit dithering..." -RPR usr nickm
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