Can you tell me how to set up a compressor for vocals while they're being recorded, and again in the mix? Once I got my Mackies, I stopped using a compressor, so it's been years. You could also plug the output of one channel directly into the input of the other for some super squash. I don't mind being limited to two mics, I only do this once at week at the Coast Guard Station and they are not at all professional!! Have you opened it up to see if there is some sort of interface connector inside? Achten Sie immer darauf, daß die jeweiligen Geräte sicher installiert sind, um Schäden und Verletzungen zu vermeiden. Maybe it would be better? The recommendations from others on here make it pretty apparent that their opinion comes from only using junk gear. Some guys like it one way some like it another. Yep, leave the gate off.
For stereo signals use both channels, for mono signals just use one channel. The 3632 is a great option as a first hardware compressor, perfectly suited to getting hands-on experience of basic techniques, forcing yourself away from presets and learning what works and what doesn't. In that case front panel controls will seem to do nothing, but the device also won't do you any good because it's not working. Conclusion Only the most ardent 3630 fan would argue that it deserves to be ranked among the all-time great compressors. In electronic music circles it may be best known as a tool for pumping mix buss compression or sidechain effects, but the original 3630 was designed as an all-rounder. Lastly, does anyone have a schematic or service manual of the Alesis 3630, ideally Rev D? That might sometimes be true, but we still think there are very good reasons to know about the classics in our list and, for the record, not all of our choices are actually that expensive. On a whole band mix it will help the bass drum 'pop' an bit more without frying the speakers and will help the vocal by smoothing out the music peaks of the other instruments.
Alot of cool lights and knobs, but they actually do things. Commercials, for example, are often heavily limited so that they have as high an average signal level as possible. That way all your other effects can benefit from the compression process. A few years ago a friend asked me to mod 1 of his 2 alesis 3630, so we could compare the unmodded to modded one. The fact that the 3630 has been one of the cheapest hardware compressors on the market for the entirety of its 20-year lifespan hasn't harmed its commercial success either. It's not the most transparent, but it doesn't color the sound that much either. You can see the settings on the image below.
I recommedn only using it on the vocals. Modifying the length of the attack and release to get different sonic results is my favorite trick. No doubt this compressor is the best of its kind. It filled a gap at the lower end of the market before digital signal processing really took off as a mainstream option, then remained popular as a cheap and dirty alternative once technically superior compression plug-ins had flooded the market. Listen to the way it brings out the snares. Others claim that the boys were using an old Behringer Composer at the time.
While it isn't the cleanest or fullest sounding compressor out there by a long shot, if you're looking for a reliable stereo pair that has a gate on it as well for a home studio setting, I would definitely recommend checking out he Alesis 3630 Compressor. The 3630 is perhaps best known in electronic dance music circles for its association with the French House scene of the late '90s and 2000s. More restrained settings genuinely allow for transparent dynamic control, but at extreme settings the 3632 will happily destroy your signal with clipped transients and messy distortion. Poking around inside the 3632, the main differences from the 3630 are fairly small but significant. Output level of-10dB and +4 dB studio on sound system. You forgot to mention one important part about removing the two caps, described in the sos forum thread.
Operation In operation, the 3632 is immediately reminiscent of its older brother. Just measure the width of the original pot bodies, and the lead spacing. Was wondering if I should run it in my effects loop or right after my bass guitar. As often happens details matter. Why would someone do that on these units? Both work with simple potentiometers.
The rest of my suggestions should still apply though. It may be based on an old design but that's no reason to be put off. With the new 2 amp Line 6 adaptor, I think hope there should be more than enough current. For keying applications, a regular mono cord can be used since it is not necessary to send the 3630's control signal out for processing. The gate could be a cool feature but here again it just has no snap at all.
Here are some pointers about how to get the necessary impact or snap in your snare. Prcis simple and clear indications are given. So why does it make the list? There are no fixed rules for optimum times since different instruments will work best with different settings. Obviously, the input level will have a lot to do with how much compression is applied, so you want to apply it so it is maybe compressing no more than 2-4dB on the peaks and go from there. Search Engine Optimisation provided by - Copyright © 2019 DragonByte Technologies Ltd.
Rather than its rate control, the 3632 offers a basic expander with an adjustable ratio, making it more versatile than the noisy all-or-nothing gate of the original. So far, it's a cool looking piece of gear that just sits in my rack and lights up. On higher compression levels, you can not only hear your voice being squashed, but on the 3630, you can hear the alteration of the sound, how the bass goes away as the compression goes up, and the pumping and breathing that it does in bringing up all the quiet sounds breathing, lip smacks, room noise, microphone self-noise, etc. I would never use it on a voice, even if it were a high quality noise gate. Some guys like it one way some like it another. He took his laptop and managed the system by his software.