Compressors/Gates in Live Music

[tweetersaway]

Hello All,

The whole crew was really excited when we could finally dump the old Behringer board for the brand new LS9. Well, now the new gear ecstacy has subsided a little bit, and we're working on ways to really use the new board in a way that will improve the sound coming out of the system, not just replicate it with a different control unit. Specifically, I'd like to ask about compressors and gates. Now that we have one of each for every channel, it's possible to use and keep track of more than just one or two channels. We generally use compressors on the vocals and bass guitar, and a gate on the kick drum. Most other instruments go through without any processing. It's usually a rock venue, but we have had salsa bands, metal bands and just about everything else. So I guess my question is, Are there any other instruments that would greatly benefit from the use of a compressor or gate? I don't want to over-process the sound, but I feel like we could use this new control to tighten up the sound, especially in our venue which is a sonic nightmare. Any input is appreciated, I love reading everybody's opinions and advice!

Thanks!
Jeff

 

[TimmyP1955]

I usually comp vocals (quite heavily - but not in the monitors!), and bass. I often put comps (set up more as limiters) on keys and guitars, as they sometimes have wildly varying patch volume levels. On the LS9 I find that the threshold has to be set a fair bit lower than the indicated signal level before anything happens (this may not be the case on the detailed view - I've not yet looked). They are pretty smooth. I start out with the attack at 0, release at 100ms, knee at 1, and ratio about 6:1.

I gate the kick and toms (and sometimes the snare ) to control the ring (which the drummer should take care of by micing them up in the rehearsal room and tuning them whilst listening on headphones, so s/he can hear how lousy they sound mic'd). I find the with the LS9 gates the use of the sidechain (key) filtering is a must, otherwise they chatter very badly.

If you were lucky enough to get a 32, here's my console file: TP Audio's LS9 Console File

 

[museav]

Just play with it and see what works or doesn't. I'm personally a fan of the "less is more" approach with processing but things like using compression on a source to reduce the dynamics, thus letting you increase the average level and bring it up out of the mix a bit more, can be useful.

 

[mixmaster]

Hello All,

The whole crew was really excited when we could finally dump the old Behringer board for the brand new LS9. Well, now the new gear ecstacy has subsided a little bit, and we're working on ways to really use the new board in a way that will improve the sound coming out of the system, not just replicate it with a different control unit. Specifically, I'd like to ask about compressors and gates. Now that we have one of each for every channel, it's possible to use and keep track of more than just one or two channels. We generally use compressors on the vocals and bass guitar, and a gate on the kick drum. Most other instruments go through without any processing. It's usually a rock venue, but we have had salsa bands, metal bands and just about everything else. So I guess my question is, Are there any other instruments that would greatly benefit from the use of a compressor or gate? I don't want to over-process the sound, but I feel like we could use this new control to tighten up the sound, especially in our venue which is a sonic nightmare. Any input is appreciated, I love reading everybody's opinions and advice!

Thanks!
Jeff

I tend to compress vocals for dynamic control, keys and guitars for "stupid loud patch" control. I gate the kick and toms, not so much to control the sound of the tom being miked, but to keep the other drums out of that mic. I've also gated electric guitars that have horrendous hiss or hum in the amp so I don't have to worry about turning the channel off between songs.
Matt

 

[Morpheus]

Compressors can be used on bass guitars, especially if the player isn't as experienced or is having a bad day, or whatever. They can help to even out differences in level, which can help the drummer hear, help the rhythm hear..... etc.

Of course, you don't want to get to zealous, especially if the player actually knows what they're doing.

 

[SHARYNF]

I'm with Brad in the less is more camp

Personally I think a live performance should be LIVE and not an overly processed and compressed gated just like a cd. If folks wanted to listen to a cd then they would probably just get a DJ ;-)

One of the things that sets apart a live performance is the hugh dynamic range. I find that some folks who are used to listening to mp3's or predominately prerecorded music tend to want to make a live performance sound like what they are used to listening to. The result I have found is a very "forward" processed type of sound that IMO leaves a lot to be desired.

Just because you have a tool available does not mean that you need to use it. You are not trying to compete on radio with commercials where you are attempting to gain attention. So many times listeners today are used to listening to music in a multi tasking environment that they might forget that it is this environment that has dictated this sort of sound. BUT in a live concert environment the chances of multitasking are probably reduced. You are there to SEE LISTEN ENJOY and EXPERIENCE, and that Opening up of the whole soundscape can make a hugh difference, If you take the time to listen

This is why Mixing for recording and mixing for Live Sound has many subtle but fundamental differences

Sharyn

 

[Dionysus]

I think Comps and Gates are HUGELY Less is more. Sometimes they are fantastic, but live music needs to be DYNAMIC to have the most visceral connection to the audience.

Now for Percussion it's often a great thing to modify the dynamics. and if the particular musician or vocalist has difficulties with their dynamic range.

I don't care to particularly reiterate the points everyone else has pointed out at this time, so I'll leave it with...

Compression is GREAT to have, but that doesn't mean you have to use it all the time.

 

[BNBSound]

I used to compress everything I could. But in the interest of keeping compression out of the monitors I switched to mostly just using them on the groups. On an 8 bus console this gives you enough control to keep any one thing from "pumping" the mix. It also speeds things up a good deal when mixing festival style when there's little or no time for a proper sound check.

I still gate drums per channel, the whole kit when possible. And quite often I'll insert a comp directly on the bass channel as a lot of bass players don't always have their rigs dialed in to perfection. Guitars I try to leave alone as much as possible, being a very expressive instrument, most players put a lot of time into tweaking their sound, but you have to be ready to deal with the occasional dunce who doesn't understand gain structure and has a clean channel that's three times louder than his distortion. And for vocals I'll usually set up a back up group and a lead group to compress them separately.

That's my basic set up, eight comps inserted on the groups and a couple spares for the odd hot spot. Easy to replicate with an LS9. My biggest piece of advise is to let the music and musicians dictate how much dynamics you implement and how hard you clamp down. For ska/punk you can pretty much crush it and it'll be great, more organic forms of music can definitely benefit from some carefully adjusted dynamic processing, but it's very easy to cross the line.