Behringer Minicom COM800 - Manual (Page 12)

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MINICOM COM800
4.2 Giving instruments more presence
Compressors are most often used to optimize the levels of individual signals during recording or
mixing. When doing a mix you have surely noticed at some point or other that it is difficult to control
the volume of some signals. Let’s take vocals as an example: When all settings are ok for the verse,
you can be sure that the vocals are too loud in the chorus, because the singer suddenly “turns up the
volume”. Additionally, even language-based differences in volume and changing distances between
singer and microphone can lead to passages getting drowned in the mix. A compressor is the ideal
solution to this typical problem: it limits the dynamic range and produces are more consistent signal
which integrates better into the mix. In particular, very dynamic, non-percussive acoustic instruments
such as acoustic guitar, vocals, etc. benefit from compression when you need to make them audible
alongside very dominant sounds and get more control over their dynamic behavior.
In addition to the more basic task of limiting the dynamic range, extreme compressor settings can
produce interesting sound changes. This effect is most often used for drum sounds, but interesting
results can be achieved with other signals, too. This can range from making the instrument-specific
decay phases of percussive instruments clearly heard (drums, acoustic guitars, piano, etc.) to
attenuating the attack phase.
Through the consistent use of compressors for individual signals during the mix, the overall mix gets
denser and can be processed more effectively during the subsequent mastering process. But you
should always keep in mind that compression does not necessarily benefit your music production.
Therefore, the results should always be evaluated critically and played to the “unbiased” ears of
other people.
4.2.1 Using the MINICOM as a traditional compressor
If you have a mixing console you can connect the MINICOM to the insert path of the single channels
whose signal you wish to compress. To process an entire group of instruments you could also use
a sub-group insert.
If your mixing console has no inserts, you can connect the MINICOM directly between signal source
and mixing console for line-level signals (see chapters 5.1.1 and 5.1.2).
The following settings are made on the device:
s
Depending on the signal, select a suitable preset and adjust the input/output levels as
described in chapter 4.1.2.
s If the compressed signal lacks brilliance, you can activate the enhancer circuit (button ).
s Use the IN/OUT button to keep comparing the compressed signal with the original
signal. This is to ensure that the quality of your production benefits from the dynamic
processing and does not tend to sound cluttered due to incorrect settings. If the signal is too
flat and lacks life, you can try to reduce the input level slightly with the INPUT LEVEL control
, or select another preset.
4.3 Giving music productions more punch
Today’s music productions need one thing in particular: maximum loudness, or volume. Productions
with a broad dynamic range usually sound thin and lack the necessary punch, especially when it’s
dance or pop music. In contrast to mastered tracks with high loudness, such productions have a
poor and inhomogeneous sound due to volume differences.
Since audio devices and recording/playback media have a limited dynamic range, signals can be
recorded with limited loudness only, which is predetermined by the technically feasible level of the
medium (CD, DAT, TAPE, etc.).
4. THE MINICOM IN PRACTICE