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Post by Blackdawg on May 9, 2024 15:43:12 GMT -6
I like #3 for the crooning clips.
I'd also guess thats the TLA?
I've never heard the opto comp from audioscape. But if I had to guess
1= Opto
2=Vcomp
3=TLA
Im fully prepared to be wrong lol
Great singing!!
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Post by Blackdawg on May 9, 2024 17:08:22 GMT -6
Im back just to say curse you Vincent for getting that damn song in my head for an hour or so in May lol
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Post by Vincent R. on May 10, 2024 13:29:30 GMT -6
All right. I may post some more samples. Maybe even a few of Emily, but here is the key. Comp 1: Audio Scape V Comp Comp 2: Summit TLA-100 Comp 3: Audio Scape Opto Of the 3, the Opto is a bit of a one trick pony a bit. It does have the low frequency filter to help dial in how aggressive or tame the compression can be though. In these though it didn't compress as much as the TLA-100 or V Comp, but would clamp down on those loud peaks as soon as they happened. It has a bit of a smiley face curve, giving the signal a bump on the bottom and the top. I actually use this piece a lot when sending session vocals out for review. I try to give my clients the vocal in context so they can hear it, and this piece doesn't color the vocal as much as the V Comp, so its gives a good example of what a final vocal could sound like. The V Comp has a sound. When it works, its great. I generally enjoy it on the crooner stuff, and even some of the opera pieces. I like it on this Neapolitan song, but on some of the more legitimate opera stuff it starts to sound too stylized. The V Comp doesn't have as loud an output as the other two. It only has an output fader while the other two sport make up gain. That said it has a lot of options to dial in the sound; (3) modes and a variable recovery speed. The TLA-100 is more neutral from what I'm hearing. Not as open as the Opto and rounder. Not as soft as the V Comp, and not as pronounced in the mids either. Even when dialed in to match the Opto as closely as possible it grabs more. So while the Opto isn't compressing at all, the TLA might be grabbing a db here and there. Again, this unit is really versatile with Fast, Medium, and Slow attack and release settings. Lots more testing to do. The TLA sounds really great on Emily so far. Emme's a real deal high lyric mezzo who can switch from a Bette Midler like croon to singing Carmen. Her voice is warm, but can be like a laser beam. The TLA tames that a bit. The Opto seems to sweeten her voice, but it can be too much on the operatic rep, and either crush or not compress enough on other rep. While the V Comp can work on her while crooning, it can be just too beefy for some other rep. Blackdawg sorry for that. I won't show you my shirt that says "It's Never to Early for Christmas Music!" that I love to wear throughout the year. lol. Also, I love that whole Andy Williams Christmas album, and I love singing that song. |
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Post by Blackdawg on May 10, 2024 13:52:09 GMT -6
Nice. Didn't get any of them right.
But I haven't heard 2 of these comps ever so whatever.
Surprised how colored the Vcomp is. I use mine on Bass more though. Haven't ever put it on a vocal actually, us the SA3A for that. But it was definitely the most colored. And I'd have thought the TLA would be more open/transparent given it's 990 opamp solid state and tube circuit then the Opto. Fun to hear them all.
Pretty cool.
And that's hilarious. As a trumpet player for years, I quickly got over christmas music. In fact I think it was just last year I finally played some christmas music since leaving college ha Is a great tune though.
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mrcel0
Junior Member
Posts: 64
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Post by mrcel0 on May 15, 2024 16:07:58 GMT -6
All right. I may post some more samples. Maybe even a few of Emily, but here is the key. Comp 1: Audio Scape V Comp Comp 2: Summit TLA-100 Comp 3: Audio Scape Opto Of the 3, the Opto is a bit of a one trick pony a bit. It does have the low frequency filter to help dial in how aggressive or tame the compression can be though. In these though it didn't compress as much as the TLA-100 or V Comp, but would clamp down on those loud peaks as soon as they happened. It has a bit of a smiley face curve, giving the signal a bump on the bottom and the top. I actually use this piece a lot when sending session vocals out for review. I try to give my clients the vocal in context so they can hear it, and this piece doesn't color the vocal as much as the V Comp, so its gives a good example of what a final vocal could sound like. The V Comp has a sound. When it works, its great. I generally enjoy it on the crooner stuff, and even some of the opera pieces. I like it on this Neapolitan song, but on some of the more legitimate opera stuff it starts to sound too stylized. The V Comp doesn't have as loud an output as the other two. It only has an output fader while the other two sport make up gain. That said it has a lot of options to dial in the sound; (3) modes and a variable recovery speed. The TLA-100 is more neutral from what I'm hearing. Not as open as the Opto and rounder. Not as soft as the V Comp, and not as pronounced in the mids either. Even when dialed in to match the Opto as closely as possible it grabs more. So while the Opto isn't compressing at all, the TLA might be grabbing a db here and there. Again, this unit is really versatile with Fast, Medium, and Slow attack and release settings. Lots more testing to do. The TLA sounds really great on Emily so far. Emme's a real deal high lyric mezzo who can switch from a Bette Midler like croon to singing Carmen. Her voice is warm, but can be like a laser beam. The TLA tames that a bit. The Opto seems to sweeten her voice, but it can be too much on the operatic rep, and either crush or not compress enough on other rep. While the V Comp can work on her while crooning, it can be just too beefy for some other rep. Blackdawg sorry for that. I won't show you my shirt that says "It's Never to Early for Christmas Music!" that I love to wear throughout the year. lol. Also, I love that whole Andy Williams Christmas album, and I love singing that song. Do you have a favorite for tracking out of these? |
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Post by Vincent R. on May 15, 2024 18:48:07 GMT -6
All right. I may post some more samples. Maybe even a few of Emily, but here is the key. Comp 1: Audio Scape V Comp Comp 2: Summit TLA-100 Comp 3: Audio Scape Opto Of the 3, the Opto is a bit of a one trick pony a bit. It does have the low frequency filter to help dial in how aggressive or tame the compression can be though. In these though it didn't compress as much as the TLA-100 or V Comp, but would clamp down on those loud peaks as soon as they happened. It has a bit of a smiley face curve, giving the signal a bump on the bottom and the top. I actually use this piece a lot when sending session vocals out for review. I try to give my clients the vocal in context so they can hear it, and this piece doesn't color the vocal as much as the V Comp, so its gives a good example of what a final vocal could sound like. The V Comp has a sound. When it works, its great. I generally enjoy it on the crooner stuff, and even some of the opera pieces. I like it on this Neapolitan song, but on some of the more legitimate opera stuff it starts to sound too stylized. The V Comp doesn't have as loud an output as the other two. It only has an output fader while the other two sport make up gain. That said it has a lot of options to dial in the sound; (3) modes and a variable recovery speed. The TLA-100 is more neutral from what I'm hearing. Not as open as the Opto and rounder. Not as soft as the V Comp, and not as pronounced in the mids either. Even when dialed in to match the Opto as closely as possible it grabs more. So while the Opto isn't compressing at all, the TLA might be grabbing a db here and there. Again, this unit is really versatile with Fast, Medium, and Slow attack and release settings. Lots more testing to do. The TLA sounds really great on Emily so far. Emme's a real deal high lyric mezzo who can switch from a Bette Midler like croon to singing Carmen. Her voice is warm, but can be like a laser beam. The TLA tames that a bit. The Opto seems to sweeten her voice, but it can be too much on the operatic rep, and either crush or not compress enough on other rep. While the V Comp can work on her while crooning, it can be just too beefy for some other rep. Blackdawg sorry for that. I won't show you my shirt that says "It's Never to Early for Christmas Music!" that I love to wear throughout the year. lol. Also, I love that whole Andy Williams Christmas album, and I love singing that song. Do you have a favorite for tracking out of these? For lots of different reasons, I don’t usually track vocals with compression. Most of what I record are usually my vocals. I find it hard to properly gauge the compression when I’m trying to record myself, and have over cooked it in the past. I also do a lot of session work, and most of my clients want to receive raw tracks. |
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Post by yotonic on May 17, 2024 11:56:51 GMT -6
Michael Jackson used the best compressor ever made for a forward vocal that maintained full dynamics and the character of the voice print. A little expensive today but it's called "fader rides"  |
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Post by Vincent R. on May 17, 2024 13:32:17 GMT -6
Michael Jackson used the best compressor ever made for a forward vocal that maintained full dynamics and the character of the voice print. A little expensive today but it's called "fader rides" Sinatra too. |
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Post by teejay on May 17, 2024 13:34:46 GMT -6
Michael Jackson used the best compressor ever made for a forward vocal that maintained full dynamics and the character of the voice print. A little expensive today but it's called "fader rides" Intelligence before it was artificial. |
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Post by notneeson on May 17, 2024 13:54:18 GMT -6
Clip.
Gain.
Sheesh.
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