Друзья, как этот компрессор себя показывает на Smooth вокале. Есть ли примеры работы этого компрессора с вокалом.
В сети нахожу много примеров работы с инструментами, но что то не нахожу примеров работы с вокалом.
Вот страничка из мануала к 1176:
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Vocals, Vocals, Vocals
The 1176LN has long been considered the preeminent tool for recording vocals. Veteran engineer Andy Johns (Led Zeppelin, Rolling Stones) says flatly, “For vocals there really isn’t a better compressor.” Bruce Swedien is another legendary engineer who is a die-hard 1176 fan. “I love them on vocals,” he says. “All of the Michael Jackson and James Ingram vocals that everyone has heard so much were done with at least one of those 1176s. I couldn’t part with them for anything. They sound fabulous.” Added reviewer Hugh Robjohns, writing in Sound on Sound magazine in June, 2001: “The 1176LN is judged by many to be unsurpassed as a vocal compressor, and I would certainly agree that it can be extremely effective. It can be surprisingly transparent when used fairly gently on a 4:1 ratio, a setting whose warm, [tube]-like quality can be sublime on softer voices. Yet it can also accommodate the raunchiest hard compression demands too, which can be fantastic on strong, belted-out rock vocals.” Reviewer Trevor Curwen, writing for The Mix in August 2000, reported that “When recording vocals, the 1176[LN] was... used with a low ratio, resulting in a very natural, smooth sound and even performance being captured. Strapping the compressor across the vocal when mixing, and adding just a little more squeeze, gave it the presence it needed to sit consistently in the mix, with a nice top end to the sound.” Producer/engineer Mike Shipley (Def Leppard, Shania Twain) says, “I grew up using 1176s—in England they were the compressor of choice. They’re especially good for vocals... most anything else I can do without, but I can’t be without at least a pair of 1176s and an LA-2A. The 1176 absolutely adds a bright character to a sound, and you can set the attack so it’s got a nice bite to it. I usually use them on 4:1 [ratio], with quite a lot of gain reduction. I like how variable the attack and release is; there’s a sound on the attack and release which I don’t think you can get with any other compressor. I listen for how it affects the vocal, and depending on the song I set the attack or release—faster attack if I want a bit more bite.” Producer/engineer Mike Clink (Guns N’ Roses, Sammy Hagar) agrees. “I find that I actually use 1176s more now than I ever did,” he says. “I like them because they bring out the brightness and presence of a sound—they give it an energy. It seems like when I’m mixing I end up using an 1176 on the vocals every time.” Jim Scott, who won a Grammy for Best Engineered Album for Tom Petty’s Wildflowers, says “I use 1176s real conservatively and they still do amazing things. I always use them on vocals.... I’m always on the 4:1 [ratio], and the Dr. Pepper [Attack/Release settings]—you know, 10 o’clock, 2 o’clock, and it does everything I need... They have an equalizer kind of effect, adding a coloration that’s bright and clear. Not only do they give you a little more impact from the compression, they also sort of clear things up; maybe a little bottom end gets squeezed out or maybe they are just sort of excitingly solid state... The big thing for me is the clarity, and the improvement in the top end.” Last but not least, if you’re trying to get an extra dose of attitude in a lead vocal, try “All-Button” mode with fast attack and release times. Not recommended for the faint of heart (or for balladeers), but it can definitely give a male or female rock vocal track an in-your-face sound that you can’t get anywhere else.
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