Compressor/Limiter ?

Hello all,

Not very experienced but doing okay with my small studio setup, I'm wondering if it's possible to add a compressor/limiter to my chain? I'd prefer not to use a plug-in.

I'm using Sonar Producer 8.5 with a UA25-EX (Vista32-bit). First, is it possible to link a stand-alone compressor to this chain and if so, which one would you recommend (budget c. $300) and secondly, can I use this for mastering mixed wav files?

Many thanks,

Francis K.

Thanks Rbh - what plug-in would you recommend?

Rbh


Yes, there are other methods of recording that can take advantage of limiting and compression before conversion to digital. But once you are in Sonar and dealing with a purely digital signal...you can get a whole lot more bang / quality for the buck using a plug-in. I wouldn't worry about mastering exercises with a 300.00 analogue compressor though.

I am using a (nearly) brand new dbx 160A that I just acquired and I really like it. 

I don't use much compression going in - even if I plan to slam the track later - I'll use a little compression going in and then use plugin compressors for more compression if needed.

  +1 for the FMR comps. I've used a RNC (Really Nice Compressor) for years. Hard to beat for $175. I mainly use it for vocalists who don't know how to control their dynamics addressing the mic.

I mainly use it for vocalists who don't know how to control their dynamics addressing the mic.

Ditto.


Mike

Great ideas for the Art and RNC recommendations above. Personally though the UAD and Waves stuff are very good. I get by with Bootsies VOS free offerings. I like the Nomad Factory stuff as well. I have bought a few of the IK mastering comp plugs....but they crash on my system. It really depends on what type of compression you're trying to achieve. Most any plug works well on traditional ride the amplitude - play with the envelope kind of stuff. But when it gets into character noise added and vacuum tube emulation - it all becomes very subtle and personal choice. I don't do any extreme super smash type of effects - I just try and emulate jazz / rock kind of music so I can't give an opinion on that type of compression. Personally I don't pretend I can do mastering house kind of processing either.

but my point was a plug in will work as well as any budget processor 

this is incorrect.


a plugin works AFTER the fact...
after the signal has already been committed as a wave file, after it has hit your convertors (assuming analog tracking.)

an outboard effects unit allows you to shape and mold the signal before it ever hits the convertors.

this is a COMPLETELY DIFFERENT WAY  of looking at tracking.

Bat-
If you read my post you will see I totally agree with you, I did mention that you need a hardware compressor if it's going on the front end. That's where I use mine for drums. I am not about to use a $300 compressor on my vocals, I will wait until I'm wealthy and by a Neve or Pultech.

Yes excellent point. It's like the dude who thinks converting an MP3 to a WAVE will sound better.

Behringer MDX2600 (seriously - good value for the price if used gently with restraint and you don't expect miracles, just don't expect great refinement or for it to last you decades).

Joe Meek MC2.

DBX of course.

Alesis 3630 if you want a "dirty" sound (generally regarded as rubbish when considered as an "audiopile" processor, but it does have a unique sound of its own).

The fact is that the compressors you get with Sonar (especially the pro-channel ones) or almost any DAW are better sounding (in my opinion) than cheap outboard ones. On the other hand, the sound of a cheap outboard compressor is sometimes exactly what's called for.
 
And, as you say, no ITB compressor is going to help control levels/limit before the interface.

Bear in mind that mic level signals will need pre-amping before they hit the compressor. In which case, you may be better off looking at complete channel strips (pre-amp, compressor, eq combined).

At which point $300 doesn't go very far, though the DBX 286s might be in your price range.

My personal way of working is to not use outboard compressors for recording - I track in 24 bit and take advantage of the extra headroom over 16 bit to keep both the recording/interface input levels clear of the red.
 
Any leveling required I then do in Sonar where I've more control, non-destructive processing and a wide range of good tools to do the job with. Mind you, if I were recording live drums or banjo then I might add a pre-interface compressor to reduce the transient peaks.

As for mastering, I wouldn't bother with outboard gear unless you've a few thousand to throw around and know exactly the kind of sound you're looking for. Most of the cheaper "all in one mastering units" are just as digital as a plug-in and, other than adding more convertors into the chain, offer nothing that Sonar, Ozone etc. can't already do better.