Compression Tard!

[kRza.]

I have a drummer - who sings - and just bought a compressor to enhance his vocals to Front of house. He's not a squealer, but isn't sissy on the drums either - what can you suggest as a ballpark dial in?

Ratio around 2 to 4:1 - I've got the Threshold at roughly -5 ,...attack is little less than quickest setting and release is fastest setting. Sounds good in practice coming through a 12" bass cab speaker!!

The problem being...I'm sending them off to their show tomorrow & this hasn't been checked in a live PA before. I'm trying to gauge the settings so as to not pick up to much of the drums. He's got one of those Audix OM5's which help - but can you suggest a happy mix of compression for this situation. Or at least a starting point?

Thanks.

[Scodiddly]

Well, it's meaningless to set the threshold to a particular number and then try to discuss it. Much more useful would be to set the threshold while watching the gain reduction meter - for live I like the fastest possible attack, a slowish release (250ms or more), and 2-3 dB gain reduction on average singing. Oh, and ratio maybe 2-5.

[kcrusher]

Yup, typically you set the ratio, attack and release, then bring the threshold down until you get 3-6db of gain reduction.

[fremitus]

here's a thought...

how often does he sing? every song? no? maybe you should get him a bypass switch to run inline on his mic. i hate having a hugely compressed vocal mic hanging over a drum kit all night. sounds of ass...

as for the comp, treat it like any other vocal, but be aware that the snare is going to trigger compression almost definitely.

[psychicoctopus]

why not ask the soundman to handle the compression?

[atdunlap]

Or, better yet... In a live setting, use expansion instead of compression. Compression could easily end up worsening the problem of drum bleed by actually making it sound louder relative to the vocal. Expansion works by pushing signals that aren't as loud as the threshold even lower. That's what you need. That way your mic is effectively "muted" until the drummer starts his vocal part (or hits the snare really hard, but anyway.....). It can sort of work as a "voice activated" mute switch.

Andrew

[Scodiddly]

Or, better yet... In a live setting, use expansion instead of compression. Compression could easily end up worsening the problem of drum bleed by actually making it sound louder relative to the vocal. Expansion works by pushing signals that aren't as loud as the threshold even lower. That's what you need. That way your mic is effectively "muted" until the drummer starts his vocal part (or hits the snare really hard, but anyway.....). It can sort of work as a "voice activated" mute switch.

How about a gate?

[fremitus]

gated vocals live? that's just asking for it in my opinion. it never reacts the same way twice. and how many clubs even have a decent gate available for such a task with the requisite adjustments? make the talentless boob kick a footswitch, that's what i say, then compress the signal, run it to a separate monitor with a blown horn and re-mic that signal, send it to the mains and crank it. that'll learn 'im....

[tommy]

If the club has a proper sound system and a staff sound person then suggesting compressor settings to him or her will produce nothing good. I would just assume that he or she is knowledgeable and will do the job just fine. Besides, you would have no control over what happens out in front anyways no matter what you say. So why add to the pre stage anxiety by worrying about something you have no control over anyway.

[Everybody's X]

fremitus, did you downsize your avatar?
that's bumming me out dude

[lobstman]

fremitus, did you downsize your avatar?
that's bumming me out dude

Yeah, seriously- you need to blow that shit back up like, now.

[snuffinthepunk]

Or, better yet... In a live setting, use expansion instead of compression. Compression could easily end up worsening the problem of drum bleed by actually making it sound louder relative to the vocal. Expansion works by pushing signals that aren't as loud as the threshold even lower. That's what you need. That way your mic is effectively "muted" until the drummer starts his vocal part (or hits the snare really hard, but anyway.....). It can sort of work as a "voice activated" mute switch.

How about a gate?

like someone said though, wouldn't the snare definitely cross the threshold? then you'd be reinforcing the snare in the vocal signal too right?

[ape32]

I try to mute drummer's mics when they aren't singing (at leat those guys that move the boom away) - this is because I have nothing better to do when I do sound than uhhhhh, MY JOB.

I agree about open vocal mics for the drummer - compression doesn't help with bleed. I tend to give the drummer a Beta 58 to lessen bleed.