Rack compressor vs Cool Edit Compression

[spuds]

I'm setting up a basic home recording studio...

I've been looking for a compressor for my effects rack but I was wondering if i REALLY needed to get one? Why can't i just use something like Cool Edit to carry out the compression?

Whats the disadvantage of doing this?
Does it sound any worse?
Its convenient, can be undone and redone with a click of a mouse! =)

Any help would be greatly appreciated as I'm quite new to this area

 

[spuds]

Re: Rack compressor vs Cool Edit Compression

bump

anyone?

 

[Robert S.]

Re: Rack compressor vs Cool Edit Compression

You can probaby just use the Cool Edit compression and skip buying a stand alone compressor.

I have a fairly deceint mix of stand alone gear as well as some killer software. I often consider which way to go when tracking and it's still trial and error when it comes to recording. Some of the hardware I use include an Aphex 207 dual tube preamp, a DBX 166XL compressor, a TC G Major, a Rocktron IntelliPitch, a Lexicon MPX 200 and a DBX 1231 EQ. My software includes some of the Digi 002 software, some Bomb Factory plug-ins and the Waves 4.0 bundle. The Waves stuff in particular is very nice and I'm getting better with it as time goes on.

Having the DBX compressor is still useful though. I insert the DBX 166xl into the Aphex 207 and run 8:1 or higher compression with a hard limit. I run vocals, bass and acoustic guitars through these pieces to get as much analog signal as possible on to the tracks as possible without clipping and then I EQ and compress the track as much as needed virtually in post. It seems to keep things sounding warmer and rounder and it does seem to keep the noise down as well.

I've been to a couple of studios receintly and even the ProTools HD guys seem to spend money on good mics, mic preamps and outboard compressors. While the virtual stuff has gotten a lot better it seems some engineers still like the stand alone stuff. It might be that old habits die hard or it may be that the stand alone stuff still rocks hard, I don't know.

My best advice is to utilize everything you have now and only buy the things that you absolutely have to have. Even then it's a hard call though because some of the virtual bundles you can buy now sound very good and often offer far more in the way of utility than any one stand alone piece can offer.

I always try to remember that it's all about tone. Until you find that your tone is lacking and that its your tools that are falling short of the mark, use what you have.

 

[spuds]

Re: Rack compressor vs Cool Edit Compression

Thanks for your help Robert!!

=)

 

[NecroPolo]

Re: Rack compressor vs Cool Edit Compression

The compressor in Cool Edit and later Adobe Audition is quite decent. Not the best ever, grade "A", lunatic, insane, etc but for home studio use it's just perfect. I'd suggest using Adobe Audition with some better soundcard, e.g. Soundscape Mixtreme. But if you don't like the idea of getting a $400 soundcard, AFAIN there is a special version of the Soundblaster Audigy card that easily handles 4 tracks. The Audition is a brewtalised version of Cool Edit Pro, with clever updates and improved stability. The mathematical detail of the effects are improved as well, the sound is just better compared to a previous Cool Edirt stuff. Plus, you can insert DirectX plug-ins. Wohever, the best thing with that software is the fact that it was created with simplicity in mind.

Robert S. is absolutely right. When recording, for a good result you'll need some kind of preamplification, compression and limiting to create the most dense signal for your A/D converters without clipping. Over-compression is a bad thing but the fatter the signal, the better the details. So, the DBX is a good tool for pre-compression. Software compressors are usable to do post-compression and processing that you do with the signal AFTER recording.

There are superb software plug-ins but a good analogue stuff can't be beaten. In the studio we recorded the stuff there was a 1-ton '70s mastering limiter, made in Germany with two knobs and a switch. I don't know but it just juiced up the whole sound just the good way.

Considering microphones, there is no "upper limit": if you get your Shure SM57, you'll be devastated once you hear an AKG C414. If you got your 414, a Neumann wipes your a$$ and so on... For a good start of the madness, a Shure SM57 for instrument recording is satisfactory.

Have a nice tweeking!

 

[Jonny R]

Re: Rack compressor vs Cool Edit Compression

Yeah, in my very limited home recording career so far I've found that using the compressor in Cool Edit is good, but it doesn't help you get a good track into the session in the first place - you still need a nice even signal coming in. Hence I'll soon be looking to get a Mic preamp / Compressor...