compressor on the "insert" or "in-Line"?

[Dead River Studio]

I have been running my compressor through the
insert of my outboard preamp and I am always
having to adjust the preamp when I make a
significant adjustments to the compressor
because it obvously affects the preamp level.
Should I be running my compressor in-line,
chained after the preamp and then out the comp
into the digi001? so I can set my preamp and
forget it? and save the insert for an EQ or the
like?
How do your do it?

Steve

[Ben Jenssen]

always
having to adjust the preamp when I make a
significant adjustments to the compressor

<font size="2" face="Verdana, Arial">You should only have to set the gain on the pre once. The inserted comp is almost certainly after the pre gain, so you should use the makeup gain on the compressor to compensate the level after compression.

Should I be running my compressor in-line,
chained after the preamp and then out the comp

<font size="2" face="Verdana, Arial">That doesnt really make a difference since the pre insert works in the same way.

That said, I prefer to record without eq and comp, and prosess later. Then you would use the outboard comp and eqs plugged directly into the 001 and prosess the tracks in PT. Duplicate playlist on the track and prosess it, now you have "before and after" on your playlists.

[where02190]

The preamp is before the compressor in the signal chain. The end result of your compressor should not affect overall gain structure other than when it is above threshold and actually compressing. Adjust your compressors output stage rather than your preamp.

With the compressor in bypass, set your preamp level.

Now engage the compressor, and adjust the compression settings, including the output gain of the compressor to compensate for gain reduction.

Hope this is helpful.

[Munxcub]

i used to keep everything set one way, but now i found i get better results when i set me preamp and everything specially for each track. this may not actually be true, but it seems to keep things sounding less repetative from song to song, things dont always sound the same.

[gerax]

I agree with Where, you should set your gain on the preamp (one of the most critical aspect of gain structure) and chain the compressor in the pre output, so no matter what compression is going on, your gain level in the preamp stage will always be the same, an will not change the tone; the makeup gain on the compressor will take care of slight volume losses, unless you really squash the signal; a little compression of the signal can be helpfull in that you can hit your A/D converters with a hotter yet controlled level, and take advantage of 24 BIT resolution, without overs.

L.G.

[Dead River Studio]

Thanks for the advise. I don't know what it is about these components (actually it's probably me) but having the Comp in the insert can affect the gain on the pre-amp if I adjust the output too high (by the way we're talking about the Aphex 1100 dual tube pre with a set of EL Distressors), when I am trying to achieve the hottest signal in protools to get the max bit depth.
I was using the insert because I wanted to take advantage of the digital out of the Aphex and go in the 001 digitally, but my ears tell me that the analog Outs and Ins of the components sound better (deeper, fuller) than the digital path. And i though the Aphex had better A/D. I don't know why but in doing bass and vocals everyone thinks the analogs sound better. Anybody notice the same? I guess that's a different discussion but I will get back and try using the distressor in-line, that I am sure will not affect the pre-amp gain.

Steve

[Frank S]

Originally posted by Dead River Studio:
I am trying to achieve the hottest signal in protools to get the max bit depth.
Steve

<font size="2" face="Verdana, Arial">You might also want to check out this discussion on the TDM board about whether trying to hit the signal at 0dBFS (for maximum bit depth) really makes sense. Many have argued that you should observe 0dBVU, which would be well below 0dBBFS on the PT meters (-14 to 18 dBFS in PTLE I believe). You loose a few bits on the track (its been suggested 2 or 3 only in some experiments posted below), but your overall mixes become clearer and less muddy.

http://duc.d igidesign.com/cgi-bin/ubbcgi/ultimatebb.cgi?ubb=get_topic;f=2;t=005346

and

http://duc.d igidesign.com/cgi-bin/ubbcgi/ultimatebb.cgi?ubb=get_topic&f=2&t=004986