Compressor on Kick or Share?

Quai34

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Hi Guys,
Maybe I need to ask this question on Gearslutz instead but they reply always with a lot of delay, especially in the non pro section, so, I take my change here, or they proposed to you another.compressor
I have a good preamp, Universal Audio LA610 Mk2 that is on my main Snare for recording. There is an opto compressor on it and I dialed it to get a very soft compression, the sound is great on the snare with this pathway:

1) Snare: Star Reserve Plain Maple 14"X 5"
2) Mic Beyer Dynamic M201TG
3)UA LA610 MK2, preamp+EQ+Compressor (LA2A style)
4) Mackie Onyx 1640i channel line in.

I have an insert on this channel and I bought recently at a good price and good payment plan, an Black Lion Audio "Bluey" FET compressor, 1176 style.

On Kick, I have two mics:
1) Inside Mic, AKG C112 to go to Mackie channel, plugged in the Mackie own preamp.
2) Outside Mic, AKG C5600 condenser, to go to a Chameleon Lab 7602 Preamp and EQ (Neve 1073 clone) to go to a Mackie channel.
Both channels have as an insert, a DBX 1066 CompressorZ

I have only one UA Bluey compressor, so, where do you think it will be more useful, on the snare or one of the kicks instead of the DBX 1066?
Let me know (Or maybe after the DBX 10066??).
Sorry if it's not drums related per se, but I've seen a lot of thread lately, talking about recording though, hence my question

Thanks, sincerely
 

scaramanga

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If I'm using an 1176 or clone compressor I usually lean more towards what it does on snare but it's even better yet on a mono source of the whole kit. I'd throw the Bluey on a room mic immediately, and leave it there. But so what?

Why are you compressing?:

1. to enhance the attack?
2. to lengthen the decay?
3. to control dynamics?
4. to add distortion

I believe the answer to these questions will determine your choice. And you probably already know that just because you have a compressor doesn't mean you need to use it. Fun though.
 
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Quai34

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I didn't think about that, I was thinking to enhance the attack of the snare but read also that it could make a killer kick.
 

Quai34

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Ok, my issue is that I have two room mics, Kel Audio HM-3C (https://gearspace.com/board/so-much-gear-so-little-time/931793-kel-audio-calls-quits.html) and only one Bluey...Well, I was thinking to buy another one, the same, to do some stereo compression but also was thinking to have another color, like the B172A, dual comp, Fet and Opto..Ok, no stereo in that case but your proposal, twice by two different person might push me to buy a second one. Or, I have a little Mix 2 in 1 like the radial to take both inserts of the two mics into the black lion and then, a Y cable after the compressor to come back into both....But I might have some phase issue? Not sure, I will try.
Thanks a lot
 

scaramanga

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Ok, my issue is that I have two room mics, Kel Audio HM-3C (https://gearspace.com/board/so-much-gear-so-little-time/931793-kel-audio-calls-quits.html) and only one Bluey...Well, I was thinking to buy another one, the same, to do some stereo compression but also was thinking to have another color, like the B172A, dual comp, Fet and Opto..Ok, no stereo in that case but your proposal, twice by two different person might push me to buy a second one. Or, I have a little Mix 2 in 1 like the radial to take both inserts of the two mics into the black lion and then, a Y cable after the compressor to come back into both....But I might have some phase issue? Not sure, I will try.
Thanks a lot

Hang on bud. If you merge 2 sources into a single input the output is a blend of the two, whether or not you use a Y cable. You can't unmix your 2 merged sources. Am I understanding you correctly?

Also, you can apply a billion different kinds of compression in the mix stage if you want, and not be locked into one sound, so maybe don't sweat getting another Bluey. 1176 style compressors are not a piece of cake to match settings on anyway.

(My opinions are not based on hearing your recordings or using your gear so they are probably best ignored)
 

Northamusi

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Heads up: the 1176 was never intended to be used in pairs for stereo, nor are its imitators. The “stereo adapter” offered back in the day (and now by UA) is horrible. Trying to use a pair of 1176s in stereo is an exercise in frustration. Look elsewhere if you’re thinking stereo compression (a pair of Distressors, for example).
 

Quai34

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Yes, I agree with both of you, if I merge two signals, my signal will be a mono one anyway. And, yes. I was thinking to keep my two room ice like that and see what I could do at the mix stage. I know about a 1176 not good on bus, I have a Chameleon labs 1172 as a stereo compressor for main bus, I have it on the drums bus and it's awesome.
2 distressor is a bit too much in term of price for me, I was more thinking about an Elysia Xpressor...thanks for all the great ideas.
 

Quai34

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I have a JOEMEEK Twin Q that I have barely used (not because it's. It good, just jobs away form it for the last 6 years, I read again the good review and I think I will put my two Room mikes on it, two channels, could be linked, EQ and Iron switch, as you said, better to do press the room mikes.
Just so you know, I will record one pass with all effects and EQ and one without, I can do that with the flip of a switch on the Mackie Onyx 1640i
 

Whitten

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What format are you recording to? A DAW? Software plug-ins are much cheaper than hardware and can be used more easily in stereo too.
I have hardware compressors (limiters, EQ etc) which I use for fun, a vibe, but if you are experimenting with modifying your kick and snare sounds, as well as polishing your overall drum mix, I think it's better to experiment with software plug-ins first (post recording).
 

Quai34

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Yes, Cubase, I got Presonus Studio one recently and PT already download in my new Mac Mini but I'm an old guy, I really like to tweak knobs, it's nicer in a rack and I need to learn both DAW and Hardware so, let's start with Hardware...I will see what I could do afterwards with Plùgs in...And I will be able to use HW in 20 years, not Plugs if I don't pay for upgrades.
 

Woody85

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Use the bluey on your room mic - all buttons in mode.

I like using DBX 160X compressors on snare and bass for most pop/rock music.
 

Quai34

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I have the DBX 1066 on Kick inside and outside, especially because it has a gate before, so, I could kill one bird with two stones but it's not a 160 for sure...
 

phdamage

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Def use the bluey on snare, though I would prob just use it as a mic pre
 
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Ox Han

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The beauty of going into a DAW is the convenience mixing tracks after they're recorded. If you really want to track with compressors, I'd put bluey on a mono room and the LA610 as a mono OH w/ light compression.

If your tracks sound right and are in phase, you can run kick and snare tracks through the bluey during the mix phase. Or, through the bluey and then chameleon labs, or the opposite, for more flavor. Then adjust phase, add a bus comp and viola! You have spent 3 years recording and mixing one song hahaha (just a joke from my own experience of how hard recording drums can be)
 

phdamage

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Use a BLA Bluey compressor as a mic pre?
absolutely! Unless Bluey is very different, 1176 style comps have so much gain on tap, you can use them as mic pres - not for condensers, obv (no phantom power). I do it all the time with my Hairball and Audioscape units.
 
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Ox Han

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I did not know this. I know UA once had a pre based off the 1176 (2108 maybe?) but I had no idea an 1176 has enough gain to be a pre for a dynamic mic. I’m assuming a kick or snare would be best to keep noise to a minimum, correct?

Wonder if this is true for the serpent 500 series. Been wanting that for a long long time. Two birds with one stone would make me pull the trigger asap. Time to google.

Thanks again
 

phdamage

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Yeah, the 2108 was based on the 1108 from way back, I believe. I owned it a couple times but used prices got so high I couldn’t justify keeping it. UA didn’t make them long - I heard they were awfully costly to make as well.

AudioScape make a similar pre - the v108. It was plenty close enough for my purposes.

And you are correct, you will want a relatively loud source - I mostly record stupidly loud stuff, so no prob there for me. I first realized this when I saw Albini plug the output of an m380 straight into an 1176. Granted, the output on those things is practically line level!
 


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