Hardware Compressor for Field Rig?

T

tommygdawg

Well-known member
Hey all,


I was just wondering what all your thoughts are on using a hardware compressor when shooting? I find when doing audio for film and field work that it's a pain in the butt having to set levels really low for one loud line of dialogue or on the flip side, already having them loud and then getting one unexpected loud noise that clips out your audio. I feel like adding a hardware compressor to my audio rig would help, but that's just another piece of gear and could make things more cumbersome. Do you all have any thoughts on this? Thanks!

- Tommy
 
Compression wouldn't be great in the field where there is a decent amount of background noise. You would hear a lot of pumping and breathing.

Sometimes it comes in handy but it MUCH more common to see limiters being used in the field, where the signal
goes untouched until you really need it.

The better the gear the more transparent (or at least more pleasing to the ear) limiters you will find.

Most professional field mixers/recorders will have this built in.
From older Shure FPXX's to newer Sound Devices mixers/recorder to Deva's to Cantar's..etc.

Once again compression CAN be used, in fact my older PSC M4 MKii that I had 10 years ago had a compressor rather than limiter (which also burned me many time because
of that fact) but limiters will work overall MUCH better.

I would never use a mixer without outstanding limiters.
I would say thats actually my own personal #1 feature I look for in a mixer.
 
Assuming you are either using a mackie style mixer, or going directly into camera?
Compression should go after your mic pre's meaning you wouldnt be able to put a stand alone compressor before your camera.

If you're using a mackie style mixer I would highly suggest you figure out what you can spend and get yourself
a small "real" field mixer like a SD mixpre or the like.
 
Cool! Thanks for the thoughts, I'll try that out next time. I'm currently running a Cx211 JuicedLink preamp into a Tascam DR-1. I often have a hard time getting a good middleground setting for the levels. I'll try it with the limiter next time. Doesn't hard limiting tend to sound pretty bad usually though?
 
tommygdawg said:
Doesn't hard limiting tend to sound pretty bad usually though?
Click to expand...

The trick is to set the limiter up or ride your levels to where the limiter only kicks in on the extreme peaks.
You only want to hit any limiter lightly or it will sound just like you mention. "pretty bad".
 
You make a good point, sir. I'll give that a shot next time I'm doin' audio or havin' someone do it for me. The Tascam has a Limiter built in, but it's not very featured, so I'll have to see how well it works.
 
I don't know any production sound mixer who uses a compressor. As a dialogue editor, I would get very grumpy if I got production dialogue that was run through a compressor. The only thing I don't mind being done on production is limiting. I don't even like it when the production sound person used EQ. That's just me, though. But, for the most part, don't be using a compressor on production.
 
davefisk said:
I don't know any production sound mixer who uses a compressor. As a dialogue editor, I would get very grumpy if I got production dialogue that was run through a compressor. The only thing I don't mind being done on production is limiting. I don't even like it when the production sound person used EQ. That's just me, though. But, for the most part, don't be using a compressor on production.
Click to expand...
Same same here. Once you start messing with EQ and compression in the field or in tracking, there is no turning back. You can't un-EQ or un-compress something. A limiter only cuts volume when it reaches the set level, and those peaks can be put back in with a little (or a lot) of work.
 
Thanks for all the responses! This is mainly to figure out a good sound rig to use on my films. I usually don't round sound myself, but me and my usual "sound guy" were wondering about this. Our audio recording experience comes from music with vocals and guitar. A bit different than recording for film :P
 
There's a big difference between a soundguy who has only done music recordings and a soundguy who does only sound for film. But I also agree with not using compression during shooting. The "included in the mixer" EQ I use when I know it's just "rumbling" sounds I hear. But it also depends on the voice etc.... And if it's for TV or others....
 
dre83 said:
There's a big difference between a soundguy who has only done music recordings and a soundguy who does only sound for film. But I also agree with not using compression during shooting. The "included in the mixer" EQ I use when I know it's just "rumbling" sounds I hear. But it also depends on the voice etc.... And if it's for TV or others....
Click to expand...

If I had the choice to hire a professional film sound guy I would, alas I don't. I do low/no budget productions so I have to get my close friends to help me out. My sound guy actually does a pretty good job, I was just curios about using a compressor to help limit things, but I'll try go with a limiter. :)
 
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