There are few meters in it which allows it to be very hard to make sound bad. What makes this plugin so great is what it doesn’t do rather than what it does. This compressor though simple packs a huge punch in when trying to control heavy dynamics within a mix. You’ll find a bunch in our sample pack marketplace.Īnother one of my favorite compressors on the list is the RCompressor from the Waves Renaissance bundle. It’s easy to throw this thing on every track that you think needs it, and practice to help familiarize yourself with the different parameters that make compression work. I would definitely recommend this plugin to any novice audio engineer who is first dipping their feet into compression. There is also a section for makeup gain so you can increase your volume once you have compressed your audio. What makes this compressor useful is that it gives the user control over the attack, threshold, ratio, and release which in return allows you more total control over the compression being done at hand. There are three separate digital meters two for the input and output gains, and one for the gain reduction being done during compression.
This is what your basic compressor plugin is generally going to look like, and a very similar interface to the one I learned while I was first learning. The C1 is a great all-around compressor and I use it on everything from basic drum tracks to sub-mixes and group buses.
It just tightens the signal coming in and smooths out the rough edges.The Waves C1 Compressor is an excellent choice if you’re looking for a more basic looking compressor while still wanting all the essential parameters needed.
WAVES CLA 2A ON VOCALS PRO
I usually have this residing on my vocal bus in Pro Tools. This a great plugin to have in your chain, especially if you are on a budget. Waves CLA 2A compressor/limiter is a must-have in your vocal chain. COMPRESSOR/LIMITER - Waves CLA-2A Compressor/Limiter Plugin I’ve used this on vocal recordings for both voice-over and music, and have come to realize that this was what I had been missing in my vocal chain for many years. If you’re looking for that classic 50’s or 60’s vocal sound, the VT-2 does just that. Vocals develop a three dimensional depth to them beefs up any voice over. When vocals are put through this workhorse, clarity and warmth come out the other end. Its two channels of analog tube warmth are what set this preamp above a lot of others out there. With the VT-2, DW Fearn has created a truly exceptional 2 channel preamp that brings back the glory of vacuum tubes. If you can spring for one in your budget, you won’t regret owning it. The way it captures the human voice gives dimension and clarity to your recordings. It also is a great mic to have for voice-over. Touted as the mic of Hollywood, the Sennheiser 416 MKH is an essential for any field recordist. Modeled after the Neumann u67 mics, the Mogami provides a more affordable approach of achieving that classic Neumann sound we are so used to hearing for voiceover. Being a condenser it down pick up everything in the room that it is placed in. For Voiceover the Mogami really works best in a sound booth or acoustically silent room. It added a silky tight sound to vocal quality, while making the vocals cut through more. The Mogami I just recently used on recording vocals for a rap song. MXL V69M Mogami Tube Condenser Microphone The PR30 captures voice artist of all vocal qualities, whereas the PR40 shines in recording lower/bassier voiced artists. Heil has created a mic that rivals any ribbon mic out there. Not only do these mics work really well as vocal mics, they are also very affordable at $250-$300. Due to the well-balanced EQ curve, especially for the PR30, they pick up the human voice without adding too much color to it. I’ve recorded a lot of voice-overs with these mics. These mics are all around great dynamic mics.
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