Compressors ?

[xmortenx]

Sorry I have watched videos now and looked at the manual. I’m having a hard time working out how many track comps are available for mixdown.

There are an Eq available for each channel but not apparently not a comp.

Im not interested in using the internal comps destructively on inputs but rather in the mixdown process.

Greatings from Denmark

Ps. and how is that comp if it available in the mix proccess ?

 

[Mark Richards]

how many track comps are available for mixdown...how is that comp if it available in the mix proccess...Im not interested in using the internal comps destructively on inputs but rather in the mixdown process.

@xmortenx,
Input Dynamic FX are only available directly for tracking.

No longer relevant to why the OP *really* posed the question (see post #5)
However there are several creative ways to overcome the absence of individual in-line Dynamic Compression when mixing tracks.

The "Equipment Related Tips", "Production Tips", and Phil Tipping's "Video Tutorials" sticky threads have suggestions for applying Dynamic Compression and other Dynamic FX to individual tracks when submixing and mixing, as well as using the Mastering Compression tool for submixes or even a single track. Making use of Virtual Tracks adds even more flexability.

My definition of "compression quality" is: only the engineer knows it's there and effective. So it has to pass "the ear test". IMO, the DP-24/32/SD's Dynamic Compression and Mastering Compression pass easily. The "Guitar" FX are unusable, IMO, for pro-level purposes.

 

[-mjk-]

It's wise to use dynamics on the input to keep things leveled and free from destructive transients. If the compression is destructive in of itself, it's not being properly applied.

 

[shredd]

Agreed: effective use of compression is both vital to good results, and literally an art unto itself. Compression is NOT an “on/off” proposition, but needs to be applied tastefully, with intention, and effectively/appropriately.
Also very on-point is mj’s noting that using it on inputs is a good approach - the basic idea being that you can’t make a poorly/improperly recorded track sound good after the fact. You’re looking for quality takes, not making them out of bad takes.

There’s a TRUCKLOAD of info on the subject available, including right here on this forum. Refer to Mark R’s suggestions (posted above) as a starting point.

And don’t be afraid to experiment!

 

[xmortenx]

I think the answer is one - the guitar fx.

For me I would like to finish off the final mix on an analog system, so using the digital ones in the recording process is not ideal for my use case.

I just wanted to now how many I could use as a scratch mix while building a song

Sad the input ones can’t be freed of their duties while not being used on the inputs

 

[Mark Richards]

I think the answer is one - the guitar fx...I just wanted to now how many I could use as a scratch mix while building a song

Oh. I thought you asked:

how many track comps are available for mixdown...how is that comp if it available in the mix proccess...Im not interested in using the internal comps destructively on inputs but rather in the mixdown process.

Reminds me of a poster I once saw:
"I know you think I understood what I thought you meant; but do you understand that what I understood was not what you meant to say?" Or something like that.

IMO, the "Guitar" FX are barely tolerable. Never use them.

 

[shredd]

IMO, the "Guitar" FX are barely tolerable. Never use them.

I’mma gonna 2nd that: every single piece of gear I own that will do git’r FX do a vastly better job/sound better than Tascam’s built-ins…right down to my BOSS BR-800 (which actually does better git’r processing than some pedals!).
I’ve never once used them. Not even on sources other than git’r…

 

[-mjk-]

For me I would like to finish off the final mix on an analog system, so using the digital ones in the recording process is not ideal for my use case.

If you have analog compressors then you can use them in the Mixdown process.