- #Cla 2a 3a or 76 for acoustic pro#
- #Cla 2a 3a or 76 for acoustic software#
- #Cla 2a 3a or 76 for acoustic series#
Use the Abbey Road TG Mastering Chain to create custom processing chains with a flexible flow and the TG magic on the master bus, or on individual tracks/groups in a mixing session. It also has an “Opto” mode (think LA-2A) which would be great for tonal compression, or “Punch” for an extra bit of grit and oomph.A modular mastering chain plugin modeled after the EMI TG12410 Transfer Console used in all Abbey Road’s mastering suites since the early ’70s to this day. Try It For: Anything! The Pro-C has a “Vocal” mode which works well for a bit of both dynamic and tonal compression, bringing vocals to the front.
#Cla 2a 3a or 76 for acoustic software#
Offering eight different compression styles, including one for vocals, the Pro-C 2 is the epitome of a modern software compressor. The RVox is an all-in-one dynamic processor.įabFilter Pro-C 2 (Plugin): Analogue hardware and plugin emulations aside, FabFilter consistently provides a character all its own. For quick and easy results, give the RVox a go. Its simple and streamlined controls make it an excellent vocal compressor, gate/expander, or limiter. Waves RVox (Plugin): A dynamics processor designed specifically for vocals. The 160A is praised as a great rock, metal, and rap vocal compressor. Try It For: Aggressive vocals/dynamic compression. The 160A is still produced today as world-class compressor.
#Cla 2a 3a or 76 for acoustic series#
The 160 series was initially introduced in 1976, undergoing various iterations. It may not look like much, sporting just threshold, ratio, and output controls, but it’s highly regarded and has been used on everything. The Distressor can do it all, but it’s unique ability to add a bit of extra saturation to the signal make it a great choice for smashing a performance for parallel processing.ĭbx 160A: Again, one of the most-used compressors ever.
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Use it as a vocal compressor, on drums, bass, guitar, or anything else, really. It’s renowned as the Swiss Army knife of compressors and for good reason.
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For example, at a ratio of 10:1 with the Attack control set to 10, the Distressor’s circuitry goes into an LA-2A emulation mode. It also has a wide range of ratio settings for more control. It has many, but one particularly unique feature is the ability to add 2nd- or 3rd-order harmonics to the signal, emulating vintage tape saturation. The 2A works beautifully as a bit of overall leveling and glue at the very end of a vocal chain.Įmpirical Labs Distressor: Another fantastic compressor. At the risk of sounding cliche, the LA-2A does add an analogue warmth to vocals that sounds incredible. Its controls are simple: a Peak Reduction knob to control gain reduction and a Gain Control knob to add make-up gain. I keep both an 1176 and a 2A (plugins) on my vocal buss, with the latter applying just a bit of glue and tube character at the end of the chain. Teletronix LA-2A: For a cool tube-y sound, you can’t go wrong with an LA-2A. The 1176’s speed will catch the biggest vocal peaks and tame them! The 1176 also has a desirable sonic character, making it a go-to for many of the best mixers in the world. It’s a very fast compressor, capable of taming the sharpest transients in the source material. When it’s time to find a vocal compressor, reach for an 1176. The Waves CLA-76 version is particularly great, as is the UAD one. It’s tremendous on vocals, whether you’re using the real thing or one of many plugin emulations. UREI/ Universal Audio 1176: One of the most famous and widely used FET limiting amplifiers of all time. It’s a fantastic way to compress vocals, but works with almost any individual instrument, too! Top Vocal Compressor Options
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Parallel compression gives the impression of control without sounding completely squashed. Make sure the original vocal track is at the desired level, and bring up the compressed copy’s fader until it sits just beneath the original. You’ll want to hit the vocal hard, so exaggerate your compressor’s settings even to the point in which it doesn’t sound pleasant. In your DAW, make a copy of your lead vocal track and place a compressor on it. It often sounds more complicated than it really is, so don’t be afraid to try it out! It’s been used since the ’70s to achieve more punch in a natural sounding way. Parallel compression is a go-to technique to push a vocal track forward and make it sound bigger or more aggressive.
#Cla 2a 3a or 76 for acoustic pro#
Video can’t be loaded because JavaScript is disabled: Mixing Vocals to Sit Properly in the Mix – Warren Huart: Produce Like A Pro () Parallel Compression