Software compressors?

[Arpangel]

I don’t really need my hardware compressor anymore, it’s only on the main buss feeding my interface, it’d be less hassle to just put a plug-in on the Reaper track FX input, one less piece of hardware, less wiring.
I only ever use it when recording on the computer, just to keep peaks down.
I’ve no experience of compressor plugs, apart from the ones in Reaper, is it worth investigating further, getting something "better"?
Working this way would take care of levels when tracking, but the plug wouldn’t protect the input of my interface.

[The Elf]

I don't believe you have need of 'better' in this instance.

But I would question why you're doing this anyway. A (hardware) compressor ahead of the interface inputs I can see. A compressor (hardware or software) ahead of you monitor inputs I can see. But a software compressor after the A-to-D? That seems a bit pointless to me. If I *did* want to put software compression in the chain (and I find I have no need, TBH) then I would put it on Reaper's output - and maybe a limiter also.

Don't forget that a computer crash resulting in shrieking audio may not be prevented by using a software compressor/limiter, no matter where you place it...

[RichardT]

Don’t do it Tony! There’s absolutely no need to compress your inputs when recording as long as you use 24 bits. Leave plenty of headroom and you’ll be ok.

Compressing the input just takes away options from you when it comes to sorting out the dynamics at mixing time.

[Wonks]

Don’t do it Tony! There’s absolutely no need to compress your inputs when recording as long as you use 24 bits. Leave plenty of headroom and you’ll be ok.

With Arpy's random and very unplanned tweaking of analogue synth controls and occasionally super-loud filter resonance squeals, he'd probably have to record at an average of at least -50dB below FS to avoid A/D overloads and give him headroom to work in.

Compressing (or at least limiting) his signal on the way in, given the way he plays and records does make sense (at least when free-form synth playing). Using a software compressor to try and do the same thing doesn't.

I'd be tempted to keep the physical compressor but set it up just as a peak limiter to stop A/D overloads, and use a software compressor as a compressor for musical purposes.

[Hugh Robjohns]

^+1 What Wonks says!

[Terrible.dee]

Don’t do it Tony! There’s absolutely no need to compress your inputs when recording as long as you use 24 bits. Leave plenty of headroom and you’ll be ok.

Compressing the input just takes away options from you when it comes to sorting out the dynamics at mixing time.

If you are trying to figure out "Dynamics" at "Mix time"

You've got far bigger problems to worry about then where you put your compressor.

If you get to "Mix time" and find that you need "Options"

Your problem is likely terminal.

It shows you had no vision for what it was you were setting out to do in the first place.

To the OP, your problem is not that you don't know where to put your compressor, or the type of compressor you should be using....

Your problem is that you don't know how or why to use it in the first place.

I suggest you spend some time digging into the subject of compression, learn WHY you would use a compressor in the first place. And learn it with your ears, I'm sure you know what a compressor does.....but can you HEAR it adding something to your music that you intended it to?

Rhetorical question.

[RichardT]

Don’t do it Tony! There’s absolutely no need to compress your inputs when recording as long as you use 24 bits. Leave plenty of headroom and you’ll be ok.

Compressing the input just takes away options from you when it comes to sorting out the dynamics at mixing time.

If you are trying to figure out "Dynamics" at "Mix time"

You've got far bigger problems to worry about then where you put your compressor.

If you get to "Mix time" and find that you need "Options"

Your problem is likely terminal.

It shows you had no vision for what it was you were setting out to do in the first place.

To the OP, your problem is not that you don't know where to put your compressor, or the type of compressor you should be using....

Your problem is that you don't know how or why to use it in the first place.

I suggest you spend some time digging into the subject of compression, learn WHY you would use a compressor in the first place. And learn it with your ears, I'm sure you know what a compressor does.....but can you HEAR it adding something to your music that you intended it to?

Rhetorical question.

Complete nonsense.

[RichardT]

Don’t do it Tony! There’s absolutely no need to compress your inputs when recording as long as you use 24 bits. Leave plenty of headroom and you’ll be ok.

With Arpy's random and very unplanned tweaking of analogue synth controls and occasionally super-loud filter resonance squeals, he'd probably have to record at an average of at least -50dB below FS to avoid A/D overloads and give him headroom to work in.

Compressing (or at least limiting) his signal on the way in, given the way he plays and records does make sense (at least when free-form synth playing). Using a software compressor to try and do the same thing doesn't.

I'd be tempted to keep the physical compressor but set it up just as a peak limiter to stop A/D overloads, and use a software compressor as a compressor for musical purposes.

Limiting, I agree for sure! With synths that is always wise.

[Rwkitch]

Don’t do it Tony! There’s absolutely no need to compress your inputs when recording as long as you use 24 bits. Leave plenty of headroom and you’ll be ok.

Compressing the input just takes away options from you when it comes to sorting out the dynamics at mixing time.

If you are trying to figure out "Dynamics" at "Mix time"

You've got far bigger problems to worry about then where you put your compressor.

If you get to "Mix time" and find that you need "Options"

Your problem is likely terminal.

It shows you had no vision for what it was you were setting out to do in the first place.

To the OP, your problem is not that you don't know where to put your compressor, or the type of compressor you should be using....

Your problem is that you don't know how or why to use it in the first place.

I suggest you spend some time digging into the subject of compression, learn WHY you would use a compressor in the first place. And learn it with your ears, I'm sure you know what a compressor does.....but can you HEAR it adding something to your music that you intended it to?

Rhetorical question.

Complete nonsense.

There's one poster on 'The Other Forum' who I've 'ignored'. I wonder who it is...

[Arpangel]

Based on what’s been said, I’ll keep my hardware compressor.
It has a definite and clear function, to catch peaks, as a limiter, and to give an overall control of level, very gentle compression, all this works fine.
I use looping delays, which can build up, ad to that big reverbs, and before you know it. you’re in trouble, there’s been loads of times where the compressor has just about stopped it all from peaking out.
Doesn’t matter how low I set my levels, all that does is increase my sense of security, and I push things even more, to get more dynamics.

[Arpangel]

One thing has always bugged me, despite the fact that it does the job, I can’t hear anything bad, it’s transparent, I think, and it’s very versatile, when I look at my rack and think "you’ve got a Behringer across your master buss, it just doesn’t feel right, but it’s psychological definitly.
I have other hardware compressors, but they aren’t as easy to use, and have connectivity problems.

[Hugh Robjohns]

...I look at my rack and think "you’ve got a Behringer across your master buss, it just doesn’t feel right...

You're just weird! Why get bothered about the mix bus when you've got Behringer as your source and as your monitors... (and wasn't there a Behringer reverb plumbed in somewhere as well?)

[Arpangel]

...I look at my rack and think "you’ve got a Behringer across your master buss, it just doesn’t feel right...

You're just weird! Why get bothered about the mix bus when you've got Behringer as your source and as your monitors... (and wasn't there a Behringer reverb plumbed in somewhere as well?)

Yes, a reverb too, there really is no hope, I’m obviously beyond redemption, all I can do is hope that the great one looks kindly on me, and I don’t burn in hell for all eternity.



I could get a nice new set of £4,000 monitors, an SSL buss compressor, and a top end Lexicon, but what would that do for me, and my music?

[RichardT]

...I look at my rack and think "you’ve got a Behringer across your master buss, it just doesn’t feel right...

You're just weird! Why get bothered about the mix bus when you've got Behringer as your source and as your monitors... (and wasn't there a Behringer reverb plumbed in somewhere as well?)

Yes, a reverb too, there really is no hope, I’m obviously beyond redemption, all I can do is hope that the great one looks kindly on me, and I don’t burn in hell for all eternity.



I could get a nice new set of £4,000 monitors, an SSL buss compressor, and a top end Lexicon, but what would that do for me, and my music?

Quite seriously, if you got £4K monitors and fully treated your mixing space I’m pretty sure it would make a vast difference. Absolutely huge! Enormous! I think you get the idea.

[Arpangel]

...I look at my rack and think "you’ve got a Behringer across your master buss, it just doesn’t feel right...

You're just weird! Why get bothered about the mix bus when you've got Behringer as your source and as your monitors... (and wasn't there a Behringer reverb plumbed in somewhere as well?)

Yes, a reverb too, there really is no hope, I’m obviously beyond redemption, all I can do is hope that the great one looks kindly on me, and I don’t burn in hell for all eternity.



I could get a nice new set of £4,000 monitors, an SSL buss compressor, and a top end Lexicon, but what would that do for me, and my music?

Quite seriously, if you got £4K monitors and fully treated your mixing space I’m pretty sure it would make a vast difference. Absolutely huge! Enormous! I think you get the idea.

My situation dictates, it’s not possible to treat the space, not up for discussion.
Buying more expensive items as I said, won’t do anything to help me make more music, or get the job done.
Besides, I like my Behringer FX, I don’t want, a Lexicon.
My monitors let me hear what I’m doing, maybe not optimally, and they aren’t the best by any means, but they are a lot better than than speakers some have used to make records a lot more famous than mine.

[James Perrett]

One thing has always bugged me, despite the fact that it does the job, I can’t hear anything bad, it’s transparent, I think, and it’s very versatile, when I look at my rack and think "you’ve got a Behringer across your master buss, it just doesn’t feel right, but it’s psychological definitly.
I have other hardware compressors, but they aren’t as easy to use, and have connectivity problems.

Just remember that it is probably a copy of a Drawmer so it should work effectively. You could always do what a friend of mine did, paint all the silver parts black so it doesn't look like a Behringer any more.

[Arpangel]

One thing has always bugged me, despite the fact that it does the job, I can’t hear anything bad, it’s transparent, I think, and it’s very versatile, when I look at my rack and think "you’ve got a Behringer across your master buss, it just doesn’t feel right, but it’s psychological definitly.
I have other hardware compressors, but they aren’t as easy to use, and have connectivity problems.

Just remember that it is probably a copy of a Drawmer so it should work effectively. You could always do what a friend of mine did, paint all the silver parts black so it doesn't look like a Behringer any more.

James does it again, I’ve got some black Hamerite in the garage, I’m on the case!

[forumuser936783]

Sound sample of that signal chain below

f it sounds good to you, then use it.

After using all kinds of plugins, a friend gave me access to his pro studio one night. I plugged a 54 strat into a direct all tube hardware signal chain consisting of an Acme tube preamp, Pultec EQP1A EQ and a UA La-2A. These are the hardware versions of my go to plugins are based upon. So this was exciting to try.

It sounded great, clean and thick honey like dripping in goodness.

So using a compressor in the front of the chain can work just fine , if it sounds good to you.

Here is a sample of that guitar tube sound .

https://soundcloud.com/jwalker99/covid- ... al_sharing

Sent from my iPhone using Tapatalk

[Arpangel]

Sound sample of that signal chain below

f it sounds good to you, then use it.

After using all kinds of plugins, a friend gave me access to his pro studio one night. I plugged a 54 strat into a direct all tube hardware signal chain consisting of an Acme tube preamp, Pultec EQP1A EQ and a UA La-2A. These are the hardware versions of my go to plugins are based upon. So this was exciting to try.

It sounded great, clean and thick honey like dripping in goodness.

So using a compressor in the front of the chain can work just fine , if it sounds good to you.

Here is a sample of that guitar tube sound .

https://soundcloud.com/jwalker99/covid- ... al_sharing

Sent from my iPhone using Tapatalk

I couldn’t possibly tell, as I have no reference point.

[Wonks]

After using all kinds of plugins, a friend gave me access to his pro studio one night. I plugged a 54 strat into a direct all tube hardware signal chain consisting of an Acme tube preamp, Pultec EQP1A EQ and a UA La-2A. These are the hardware versions of my go to plugins are based upon. So this was exciting to try.

It sounded great, clean and thick honey like dripping in goodness.

So using a compressor in the front of the chain can work just fine , if it sounds good to you.

Here is a sample of that guitar tube sound .

https://soundcloud.com/jwalker99/covid- ... al_sharing

Sent from my iPhone using Tapatalk

I liked the clean intro guitar sound, then when it got loud it was far too bright and brittle sounding for me.

[Arpangel]

The mix leaves a lot to be desired, so much so, that any subtleties in tone are not really significant.