PlanetZ forums - scopeusers.com

i use one scopes mixer channel(stm2448) for analog input from my mixer and i send throu another channel to the daw.

what is the correct order of the dynamic modules in scopes channel.
the limiter should be left "last" in order?
last in the input chanel or the output channel?
what about scopes on mixer compressor?

offcourse there must be a correct level of the mics.
but always if i sing close to the mic,, nmater if it is set low.. there might appear clipping or distortion of the capsule without clipping.


suggestions please for the max performance

might be a good idea to create a discussion field for mixing and mastering (mix n master )

Hi There,
A book I use a lot may help you out here.
Its called 'Mixing with your Mind' by Michael Paul Stavrou
http://www.mixingwithyourmind.com/
Its got a lot os useful tips and whole section on vocals.
I highly recommend it
Maus

if you record in 24bit, there's no need for compressors. you only need the meter to be about 3/4 of the way up the scale for good bit depth. if the singer is really unpolished, you can use a hardware limiter BEFORE the ad converter to avoid clipping of the input. i'd definitely use a compressor on mixdown, but a limiter is probably not needed there, not on the track anyway...

i have loaded a scopes limiter on an stm2448 channel that takes from scopes analog source. is that considered before the ad converter? i guess so...

about 24bit and no need for compression... well i don't get it. i have read about it also in the internet but i thought that compression works similarly for 16 24 or 32bit recording.
what is it about 24bit recording(which i record on) and compression?

ad converter=Analog to Digital converter. this is BEFORE you get into the computer.

let's see if i can answer the other question simply....
compression makes the loud sounds quieter and the quiet sounds louder. it reduces the dynamic range of the track.

when you record in 16bit, halfway up the scale is only 8bits. this will likely lead to a poor recording. the solution is to record a hotter signal, to get to a 12bit depth or so, as close to the full 16bits as possible. the closer you get to the top of the scale, the more important it is to limit peaks in order to avoid clipping, which sounds bad.

halfway up the scale in 24bit recording is about 12bits. since the final cd will be 16bits, 12bits and up will be a good recording. 20 bits will have more detail than the final product will show, so 24bit recording doesn't require the levels to be as high in order to have a good final result, therefore there's less need for compression/limiting to avoid clipping.

when mixing, compression is required, both to maximize overall loudness and to assure that quiet passages aren't lost in the mix while keeping louder passages from becoming overwhelming.

hopefully, this very simplified, basic explanation will help...

thanks... i will try to get deeper into it, but i start understanding better.
according to make low passages louder...yes i understand that this has to do with the style of recording and not the quality of the sound.

so scopes analog source represents the signal that has just been converted to digital by scope cards.
in order to avoid clipping on the beggining on of the singal..if i do not have a hardware limiter, then the closest place to put the limiter is just after scopes analog source........... i suppose

is it much a difference if i use a limiter just before the a/d convertion, or just after the a/d convertion(lets say that we had the same limiter before or after the A/D convertion).....?

no, it's not the same. if the signal is hot enough to require limiting, then it has ALREADY distorted the input. there is NO reason to use a software comp/limiter when recording, really.