i use the 512c's and they have a pad *but* it's in the wrong spot..on most sources it kills tone..it's not on the output..I use Shure barrel pads on the XLR outs never the internal pad and then you can run them hot and get that tone while not clipping your converters..Recycled_Brains wrote:I usually do a bit of compressing on bass and vocals on the way in. Usually 2 reasons for that... 1. It helps the performance. Vocals and bass seem to always be the most "wild" in their dynamics, so I find a few db of relatively subtle compression helps the player/singer hear things a little better while performing. 2. I always compress vocals and bass the most during mix, so I like to get it at least part way there right off the bat.
Lately though, I've been tapping kick and snare just a tiny bit because I'm usually recording drums with API pres and [for fuck's sake] even padded with the gain low, it's really hard to keep those sources from clipping the converters and PT.... so it's sorta necessary.
Side note... WHY CAN'T API PUT OUTPUT ATTENUATORS ON THEIR PREAMPS!?
why compress before it hits tape/converter?
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- I'm Painting Again
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Yes.mjt335 wrote:Here's a 388-related question that's on this topic. My apologies if this is answered elsewhere, but it seems relevant here...
If I have compressors on channel inserts at tracking, will the compressed signal be printed to tape? I would assume so, but... is that correct?
And if you leave them turned on when in 'rmx' mode, they will also be applied to the playback signal so be sure to turn them off after recording if you don't want double.
Alternatively if you do want to record more inserts you can plug them into the same channel and then bus your signal to other tracks and hit record...I've done this before to create a wall of noise.
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