Recording

Which Nomad plugins do you have?

Fraz,

the plugs won't help much going in, but with 24 bit recording you don't really need to be mucking up the recording before hand. Even with hardware it is better to know what exactly you are doing before committing to "tape" something you won't be able to change later.

After tracking, however, plug-in's can really help (so can hardware, but that is another story).

So, the short answer is no. Most of what you would want a compressor/limiter for is to even out your sound going in and keep your converters from distorting. Convertors are, of course, before your software. So there is no real purpose to using the software until you are mixing. Software is no substitute for hardware during tracking.

And personally, I would only use high-end hardware going in. At home I got a Komit Treehouse which is very nice, but it is expensive and I mainly use it for the Limiter going into the converters (not to mention the nice sheen the transformers, etc put on the signal). Up until that point I just went straight from the preamps into the computer, tho I had some mid-range compressors etc.

Nomad is good stuff, esp. the Blue tube and Analog stuff ( and the delay stuff in essentials - i think - is also very nice). A lot of people don't like them, and I think the earliest versions must have suffered in programming. I use the Track Box all the time since it sounds nice (if you want color) and is a one-stop shopping center with all you need. The 3 band PEQ (I think that is the one - there are so many plugs in the package) English-style EQ is very useful, too.

I haven't used the Liquid Bundle much. It seems 'cleaner" and I have some nice Voxengo softare, not to mention the Sonitus stuff from SONAR. But I mainly use it for coloring the sound. Try the analog collection first - it is pretty simple. Just last night I was trying some other compressors on a bass loop and forgot to re-engage the Fairchild emulation after I got finished. Then sat there and wondered why the bass was jumping (volume wise) all over the place.

A lot of what you need to do is not learn the software, but train your ears to hear what it is doing. The longer you mess with it, the more obvious it becomes - or at least you miss it when it is gone. And not every track needs a software compressor on it or messing with the EQ. THat is something else that only experinence (and taste) can supply.

Hi again,

Just had a quick look online and there is a Presonus COMP 16 £80 , Focusrite Trackmaster Pro @ £160 but is a mic preamp as well. There is a phonic at £100 and then there are others that are others that are £000's which I'll leave for now........The Pre Sonus Comp 16 looks good and compact for a desktop though there isn't much desktop left which is why the monitor screens will go on the wall....but even then when the BCR controller goes on the desk...gee.....no desktop will be left....oops....sorry,,,,compressors is the subject isn't it?.......What do you think of the Presonus COMP 16??? - It should be good enough shouldn't it really?/?

Fraz,

although I agree with bulls hit, there is no reason not to buy a budget compressor if it is solving a problem for you. But from what you've said I don't know why you need one (other than gear lust, which ain't a bad thing). But unless you have a unlimited budget, you might be able to put your money to better use.

Software plugins are a better buy - and unless you are overdriving your convertor you don't really need a compressor for recording. A compressor is simply an automatic gain-riding device - it levels out the sound. For tracking (recording into a system) you use it to get a higher average sound. An example would be drums, where it will soften the loudest hits so you can capture more of the quieter ones. Or a singer using a large dynamic range. Unfortunatly, it will also make any ambient noise louder, a downside. A cheaper compressor at your front end will do all this - flatten out dynamics and add noise. I mentioned the Komits, which are about 10 times more expensive than what you are talking about. Just runing sound through them (as with other hi-end equipment) things sounds better. Counter-intuitive, but true.

With a 24-bit systems, over dynamics aren't such a problem as with analog or 16 bit recording. You should be able to capture all the dynamics, and then when mixing lower the loud passages and pump up the quieter ones using automation. And/our use a software compressor/limiter to control the dynamics so that (for examle) a vocal performance sits on top of the everything else. Or the bass doesn't "pop" out on certian notes.

You haven't said what kind of recording you do or wish to. If you are doing band recording with drums, you need a minimum of 8 inputs (12 would be better, but we are stuck with the old analog paradim of 2/4/8/16 tracks for the most part). If you are doing electronic music, 2 will do. Almost any computer audio interface will produce fine recordings these days, once you learn to use it.

If it was me (and it ain't, but you asked) and you want a compressor, I'd probably go with the Presonus. I have a Firepod, and it is a solid piece of gear and I'm happy with the company. Also, it is cheaper. The only cavet would be if the Trackmaster has a better preamp than your audio interface. But be advised any difference in quality will be inches, not miles. In fact, until you train your ears it is hard to hear a difference at all between good and great equipment. But it is easier to abuse cheaper stuff, which will learn you proper gain staging quicker. Just be careful using a compressor - esp. going in, since it is easy to mess up your recording and their is no way to humply sound back togeather again once it on to tape (or hard drive). A little goes a long way.

best of luck...

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Fraz,

good luck. The best thing you can do is simply work on it. Ask questions, and train your ears.

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