Let’s take a look at some of the more famous pre-amp, EQ and compression combinations and see how we can achieve a cheaper software alternative: APIĪutomated Processes, Inc, or API as they are more familiarly known as producers of preamps, EQs and compressors, and a particular one, if not the founding fathers of 500 series modules. This means that while they all perform the same function as each other, they can colour the sound differently. EQs can be digital or analog, use tubes or passive circuits, be parametric, graphic or stepped console-style.Ĭompressors can be optical, voltage controlled or FET circuit based as well as a host of other options. What EQs and compressors share in common with microphone preamps is that the way they operate can differ.
Here’s a handy list of my favourite cheap and free compressors. Recently I stumbled across this fantastic visual representation of what compression does to an audio signal.
You can see this a glorified, automated volume control. The sound passes into the compressor and anything over the specified threshold is compressed by some amount, determined by the ratio. Compression is a process whereby we can automatically attenuate in the incoming signal.
You can read more about it in my hand guide here.Ĭompression is a little harder to explain without demonstration or visual aid. EQ can be used correctively to fix some issue with the recording, such as an unpleasant resonance, or creatively to colour to the sound to better fit your mix, such as brightening or darkening a sound. There are different types of filters including low and high cut, low and high shelf, bell and notch. Equalisation (or EQ to its buddies) is a process of balancing the audio spectrum by boosting or attenuating certain frequency bands. …And EQ and Compression?Īs with my elevator pitch as to what a preamp is, I’ll try and do the same with EQ and compression. The top-dogs over at Sweetwater have done a fantastic guide to buying hardware preamps, which I’d certainly recommend checking out. While preamps all do the same thing they don’t all sound the same companies may use different component or even different technology to boost the sound, it could be solid state or tube, some add colour while others are transparent, some are single or multiple channels and even have some extra bundled features such as phantom power, polarity inversion, basic parametric equalisation or even compression and gating in some instances. However, with many aspects of music technology, while there are bargains out there to be had, generally speaking, the more you spend the better quality you get. Most any audio interface will have some preamps included and they mostly sound fine. That’s it really! Here’s a handy diagram that also includes a typical amplifier that would take that line level signal and boost it to speaker level, ready for a PA or monitor. In reality, all they do is convert an instrument or microphone level signal (quiet) into a line level one (louder), ideally without boosting the noise floor. Something that alluded (and many others) for years – I thought preamps were some magical “make it sound better” box. So, let’s take a look at some of our favourite channel strips and how we can approximate them within the box: But First… What is a Preamp? Coupled with the already well-modelled compression circuits and some other cheap and cheerful third party plug-ins, I wanted to take a look at achieving some of those sought-after channel strip sounds in your DAW without having to venture into the myriad of analog hardware or remortgage.
Logic’s 10.4 update saw the introduction of Apple’s first proper foray into analog EQ emulation with their Vintage Collection. There are a plethora of companies cloning our favourite bits of kit but I want to focus on the alternatives for those of you who want to keep it in-the-box. However, if you’ve ever seen the prices classic EQs, compressors and channel strips are going for you’ll know they’re enough to bankrupt the average project studio. There’s nothing wrong with the sound for most purposes but if you’ve ever wanted to place your vocal, drums or guitar recording in a different era, or breathe life into an otherwise lifeless, flat take, then cooking up that signal path with some sexy seventies hardware might have been something you’ve considered. At some stage or another, anyone who records in a humble home studio might want to move beyond the sound of an economy microphone and audio interface.