DEEP EFX Compressors

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This topic contains 14 replies, has 6 voices, and was last updated by Profile photo of Mike C Mike C 4 weeks, 1 day ago.

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  • #98484
    Profile photo of Dr.E
    Dr.E
    Participant

    I started using the DEEP EFX. . . OTPO Compressor this weekend in our church sound system with SQ6 mixer etc. Really worked great on podium mic and clergy wireless headsets for smooth, even, clear sound. Pastor complained about clarity of music at end of service. Does the OTPTO cut high frequencies / mid-high articulations? Is there a better DEEP Compressor model for contemporary worship band? Since I only bought the OPTO as single add-on (not the expensive bundle) I can’t simply swap in and out to seee which one would work best for the worship band. Any help you can offer is greatly appreciated.

    #98485
    Profile photo of Mike C
    Mike C
    Participant

    Are you using it as bus compressor that all the band inputs are sent to or is it on the main mix output,or just select instrument channels?

    How much compression where you using?

    #98486
    Profile photo of Dave Meadowcroft
    Dave Meadowcroft
    Participant

    Unless I’m after a specific effect I would normally only insert and activate a compressor on channels that actually need it. Inserting on a group or an entire mix can have unintended consequences.

    As you can have separate instances of the Deep compressors on every channel (and mix) I would try using it on discrete channels that will benefit from it first.

    I love the Opto – it’s the one I use most often. Balancing the signal hitting the compressor with the threshold, ratio and makeup gain is more of an art than a science, but with appropriate settings, and using your ear, for a given source it can sound amazing.

    #98487
    Profile photo of Brian
    Brian
    Participant

    What attack and release settings were you using?

    Generally speaking, the release time is going to effect the “consonant” sounds when singing- the slower the release the more muted these become. A fast attack and fast release is probably best for clarity.

    #98489
    Profile photo of Dr.E
    Dr.E
    Participant

    So grateful for your sharing your expertise! While I love compression as a tool, I have alot to learn. So, pardon my ignaorance and possibly poor practices. . . i inserted the OTPO compressor per channel replacing stock compressor). For most channels, 3:1 ratio, left threshold setting at default (I think it was -12db – I know it was at 12:00noon position). Left default values alone of Fast attack and Medium release. For vocalists with wildly swinging levels, I used a 4:1 ratio and cut in threshold 3 db, so about 11:30 clock position on dial. Oh, and for most vocal channels I dial in about 3db of make-up gain.

    It now occurs to me, that I also, inserted same OPTO compressor on main mix L/R output. . . for use as a limiter like I did with the stock compressor. . . . dialed ratio to 6:1, pushed threshold up much higher to 0db trigger. I wonder if doubling up screwed up my mids / highs?

    #98494
    Profile photo of Mike C
    Mike C
    Participant

    You do not want to use an OPTO comp as a main system limiter, an RMS comp with a higher ratio would be better as system limiter.

    Remember you do not need to apply a comp to every channel just because you can.
    Vocals, snare drum, bass guitar, a little on an acoustic guitar will go a long way.

    How much gain reduction were you seeing on the channel compression.

    As a general comment I have heard the life sucked out of mixes from the use
    of too much processing and too many plugins.

    #98507
    Profile photo of Hugh
    Hugh
    Participant

    The opto comp is clearly a great tool to control a singers dynamic range. However the ability to fully implement it’s considerable function, it must be tailored to the specific vocal to which it is assigned. This is actually my protocol for any and all compression I assign: I have all 5 of the SQ deep comps but use only the Opto on vocals and the 1176 styled comp on all instrumentation channels that need compression. The only final two mix comp I use is my Waves SSL stereo comp: dialing it in on final project selections with my studio one DAW seems to glue help the mix together. This is not a practice that I would advise for any FOH live or monitoring application for many reasons. IMO compression needs to be assigned exclusively with the individual channels for any FOH live events.
    Hugh

    #98509
    Profile photo of Dr.E
    Dr.E
    Participant

    Thanks! I was seeing alot of compression to two vocals (out of the 4), the bass guitar and drums. I was very familiar with the stock compressor in the SQ6 and I’m in the early learning curve of the OPTO.

    #98510
    Profile photo of Dr.E
    Dr.E
    Participant

    YEs, I think the life was being sucked out of the mix. On one hand the podium / preaching mic was incredibly smooth, but not as articulate so I added just 1 db of mid-highs in the PEQ and pulled a little out of the 250 hz range. I will remove the OPTO from the main mix. And, I was thinking of buying the Peak 76 (1176 emulation) today and now I know it is a better comp for instruments. THNX!

    #98512
    Profile photo of Mike C
    Mike C
    Participant

    The 250hz area is good choice to cut some of to increase vocal
    clarity.

    #98547
    Profile photo of Andre S
    Andre S
    Participant

    You might want to look these two videos on the SQ Comps AND their development. Really insightful!!!!

    #98569
    Profile photo of Dr.E
    Dr.E
    Participant

    Thanks. . .I have adjusted the release time to FAST setting. I think I have learned from all of you that I need to sparingly use compression especially with the OPTO. FYI – I just purchased the PeakLimiter PL76 compressor to use on insturments per recommendatin this thread. I will be trying that out tonight in a rehearsal.

    Seems the PL76 compressor is set up in reverse. So, let me see if understand it after watching a handful of videos.

    My Understanding of using the PL76 Compressor Basics After Reading is:
    – Use Input knob to set the threshold of compressor processing signal (USe sparingly to trim high transients
    – Use Output knob to balance signal strength. . relative to Input setting
    – Attack and Release controls are backwards to normal compressor set-up
    – To dial in Fastest Attack, push dial all the way to 7 (or fully clockwise)
    – To dial in Slowest Release time, dial all the way to 7 (fully clockwise)
    – Initial Attack setting should be set at around 4-5?
    – Initial Release setting should also be set around 4?

    Questions
    Do I have my basic understanding correct?
    – I am planning on using the PL76 for instruments only per suggestion of HUGH – with input in input above
    – Any suggested Attack / Release settings for drums, vs bas, vs keys?

    #98574
    Profile photo of Hugh
    Hugh
    Participant

    It is important to understand the major differences between managing a live FOH application and studio two mixing. In studio two mixing you have the luxury of doing it over until you get the sound you want. In live performance FOH desk management there are no “do overs”, you have to get it right real time while the performance is occurring. To this end understanding the transient management difference between RMS (averaging) and peak limiting is critical.
    Please do not over look the wonderful stock compressor that comes with all SQs. Put a few stems up in your SQ-drive and experiment with the peak vs RMS effects to ascertain the importance transient suppression, or lack there of, as well as all of the other controls that can be a window into the type of deep comp you may need or want to purchase. I am absolutely certain that I can get a great live mix with just the stock manual compressor assigned to each individual channel. Un like my studio mixes I never will assign a comp or limiter on a live FOH LR mix for the primary reasons stated above. Transient and overplays are always best handled on a per channel basis.

    As I previously stated I greatly prefer comping vocals with Opto and instruments with the PL76 for live FOH work primarily because I have been using various incarnations of these devices for many years.
    Hugh

    #98577
    Profile photo of Dr.E
    Dr.E
    Participant

    Thanks for the guidance. I have used the stock compressors on the GLD, QU and SQ for many years. Thye are good, but I am also looking for specialty tools at this point to polish up a few things. I thought the Opto sounded amazing on speaking parts during a live church service, almost magical in smoothness and clarity. And, I intuitively had rolled off 250 hz. And, when I used it during a smaller coal rich ensemble, the Opto was very good. Our music leader even said it sounded like a new sound system. So, FOH was pretty good. The mains sounded mushy due to having Opto on both each individual channel AND n the mains etc. I have removed it from mains and am taking a more selective approach. I have to watch to not apply too much compression and am trialing the PL76 on instruments tonight.

    Question – I see the lighted button that reads either Transient or Burn. Is the effect off if no light is on for either one? Just curious.

    #98581
    Profile photo of Mike C
    Mike C
    Participant

    It is important to understand the major differences between managing a live FOH application and studio two mixing. In studio two mixing you have the luxury of doing it over until you get the sound you want. In live performance FOH desk management there are no “do overs”, you have to get it right real time while the performance is occurring.

    And lets not forget that in live sound you always have to deal with what room is doing to
    you and the gain before feedback ratio, in the studio for the most part neither of those
    are a factor you have to deal with and that takes away all the fun!!

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