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It is usual logic that you should “print to tape” (old term, still used in digital) dry (no effects), because you can always add effects, but can’t un-add them.

But compression is the exception….it’s kind of a NON-effect. If you talk to a lot of pro engineers, or do some research in recording-nerd magazines (like Tape-Op Magazine), you’ll find that almost EVERYONE adds a little compression to vocals as they record. It’s how you get the dynamic range of vocals onto the track without distortion and other artifacts. Digital has a wider dynamic range than tape (which is often abused in mastering, in the Loudness War
http://en.wikipedia.org/wiki/Loudness_war
)

But digital still is helped by some compression “printing to tape” (printing to hard drive.)

The only time compression is not needed is if someone comes from a jazz or classical background, has years of mic experience and “riding the mic” (i.e. intuitively getting the right amount of further away when they get louder, and get closer when they get softer.) Doing this correctly is an art, as there are vast variations in the volume in singing, even within one word.

The best way to record vocals, hands down, and 99 percent of pro studios work this way, is:
–condenser mic (on a shock mount, with a pop filter an inch away)
–tube preamp
–a little compression.

It’s a formula that works, has worked for 80 years, and still works with digital.

It’s funny, digital is all about making the signal cleaner, but then it loses the “warmth” that tubes and tape added (yes, tape added some “compression”), so almost all pro digital studios still use tube pre-amps and tube compressors, especially on the vocals and drums.

MWD

This entry was posted by Michael W. Dean on Friday, September 11th, 2009 at 7:47 am and is filed under The world is a strange and beautiful place. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.