Foh compression/gating

[The Boogie Man]

Hi Troops, After my last topic about eq on inserts, I've moved the eq to the inserts, but left the behringer comp/ lim at the end of the chain.

 

I don't really need a lot of comp on the end result ( if any ), but I left it in line as a gate just to quieten the whole system on idle.

So I'm wondering, would it be worth picking up a dedicated gate or would a higher end comp/lim/gate do anthing that the behringer carn't, or the same, but better?

 

Also I remember someone on here saying about foh comp not being usual? Can someone clarify the norm concerning it's use?

[paulears]

Well - the usual reason for not applying gating or compression to the entire mix is that it isn't needed, sometimes makes feedback control really difficult, and doesn't really help. Gating on open mics with no proper input is quite useful, especially for a solo player, or small duo because it can shut off unwanted mics - tightening up the sound. Compressing the vocals can work nicely too, if done carefully. Sticking it on the output, just squashes everything - probably making the sound quite tiring to listen to, as the dynamics have been removed - it'll just sound loud, whatever you do. A ballad will sound the same as the rock and roll.

[The Boogie Man]

Cheers Paul,

 

I sould have said in the first post that I only use comp at the end of the line set at +3 or higher as protection.

 

So where does the theory about using comp/limters just before the amps as protection come in, or is it that they are just limiters and there is no compression happening?

[Shez]

So where does the theory about using comp/limters just before the amps as protection come in, or is it that they are just limiters and there is no compression happening?

 

Limiters can be used just before the amps to protect the speakers; I wouldn't see a need to use compression there. If I was using mix compression, I would use the compressor as an insert rather than in line, as whenever you want to change the overall volume with the master faders, you'll be affecting the amount of compression and not making as much change to the volume.

[paulears]

If you set one up carefully so that the knee point is high enough, then as you approach full, the signal compresses gently. The limiter is a kind of last resort, holding the level below clip point. It probably wouldn't happen to you as from your posts you understand what you wish to sound like - but with people who don't know they push and push with the limiter squashing all dynamic range and sounding grim. There is a school of thought that this protects the amps - although my own feeling is that the limiting and squashed dynamic range means the the amps are running really hard - probably harder than they would with a wider dynamic range and the occasion excursion into the red.

[The Boogie Man]

** laughs out loud **, looks like one more peice of rack gear for ebay then.

I take the point though, if it's only being used as a protection for the amps, then it's a bit of a waste, as thinking about it I've never actually clipped any of the amps.

[mervaka]

that might be why..

[The Boogie Man]

I asked for that I suppose. I meant in the 25 yrs I've been messing with gear. And before you get me again I mean musical gear!

baz

[rinkydinkron]

Incidentally what speakers did you end up buying in the end Boogie man?

[The Boogie Man]

Hiya, In the end I didn't buy speakers, I made them.

 

http://i16.photobucket.com/albums/b13/bazwalton/panov071.jpg

 

 

I wont hijack my own thread with an indepth description as in a month or so when everything is finished, I'll put a full description of the show equipment ( probably in the crew room ) not as any sort of proud gloat or anythinglike that, but because just about all the information that helped put together the sound and light show was imparted from the blue room.

baz