Allen & Heath Manual RMS Compressor Tutorial 1: intro using a vocal

This is a basic but in depth tutorial on how to use the stock RMS compressor on the Avantis and other A&H consoles like SQ and dLive.
This information can be used to work with other RMS compressors too, but of course it won't give the exact same results.

[@atlargegroupllc2694]

I enjoyed the video, thanks for the tutorial

[@Eglmeister]

Great Video! Really enjoyed watching it! Looking forward to more - maybe a comparison between RMS and Peak compression? :)

[@anjello105]

Great tutorial. Please upload more videos using avantis

[@studio1on151]

Thanks! Can't promise anything since I'm extremely busy but who knows... I might make a few more at some point. If you subscribe you might see them if I do.

[@HartUnger]

Liked the video very much! Just one recommendation though. When you are showing something that's important, remember to keep your hands out of the way so people can see what you're talking about.

[@djjuancarlos22]

good video....tnks

[@studio1on151]

You're very welcome! Glad you liked it.

[@Tt-pm9ir]

Is RMS recommended for vocals? I thought peak was the way to go

[@studio1on151]

I don't think there's necessarily 'a way to go' because there's the technical/theoretical side and then there's taste. By all means, toy around with peak compression on vocals to see f it does what you're looking to do! I personally pretty much never use peak compression, to the point where I almost forgot it was even a thing. That doesn't mean peak compression could never help me, but it means I get by fine with RMS compression alone. I do use peak limiters when mastering, but not typically in a live environment, unless it's for a stream or a recording, perhaps. I find that on vocals RMS compression usually gives a result that does what I want to do without artefacts that annoy me, that's a big plus. :) Hope this helps!

[@slofty]

This desk would be the absolute best price to performance if A&H would allow the compressor attack to scale all the way to 0s with a shorter release time as well. I wonder what their rationale is, as there are plenty of percussive channels that could benefit from such an option. Everyone yell at A&H for this as I don't like resorting to a Yamaha unit when I need those particular transients.

[@brenthauer8365]

You need your compressor to detect the transients occurring at < 30 microseconds?

[@slofty]

@@brenthauer8365 Brick walling is useful for percussion from time to time live. It's done in recording studios regularly.

[@brenthauer8365]

brickwall usually refers to ratio of a compressor being 10:1 or higher. @@slofty

[@brenthauer8365]

I'm curious what 0ms on the Yamaha compressor actually means. They don't display attack times in microseconds like the A&H compressor does. When you turn the knob from 1 ms to 0 ms what is the actual realworld attack time? @@slofty

[@slofty]

@@brenthauer8365 "...usually refers to..." By whose (plural) definition? The objective is squashing dynamics, which can take place immediately enough upon crossing threshold. Sure, it's not _actually_ zero, but it's pointless from a notation standpoint to display a fraction of a millisecond. An engineer doesn't need to have a semantic argument with himself whilst mixing 30+ channels and so on.