Best 2 bus comp?

Posted: Tue Apr 30, 2002 6:49 pm

It's in Electronic Musician magazine. Sorry I don't have a link. There was another interview in either Mix or Eq as well, I'll try to look it up.

Posted: Wed May 01, 2002 9:24 am

Quote:

Originally posted by coldsnow:
It's in Electronic Musician magazine. Sorry I don't have a link. There was another interview in either Mix or Eq as well, I'll try to look it up.

Thanks Coldsnow
I did manage to work it out eventually, doh!
Rene

Posted: Wed May 01, 2002 10:42 am

....

Posted: Thu May 02, 2002 9:07 am

Renie, Zythum Studios has a Manley MU and it is a majior piece here! The trick is to have it modified w/ thier new Tubes (sorry I forgot the type, but if you call Manley, ask for Paul, that is who did the job on mine)

The improvement on the sonics for one, the tight Bass end is even clearer and not "muddy" at all!

With all the Compressors in my life that I will get, The Manley MU will always be in the altilary and will always be considered a prize piece!

Good luck to you in your hunt for a Compressor and let us know what you decide!

Mad John
Zythum Studios
1st Take Productions

"The present day Composer refusese to die!" - Edgar Varese - 1921

Posted: Fri May 03, 2002 8:27 am

I cant spell, I am dylexic! Very Happy

Posted: Fri May 03, 2002 12:19 pm

John

Thanks for your feedback. I knew what you were saying even if some not-so-smarty-pants people didn't Very Happy

.

I'm checking out some comp's next week.
First off is the new SPL Kultube followed by a main course of the refined British cuisine of the Chiswick Reach I will probably finish of with the Vari Mu and or the Alan Smart.

I will report back!!

Renie

Posted: Fri May 10, 2002 10:48 pm

For years every record I was involved in making was mixed through the A&D Compex compressor/limiter. Then one day it came to pass that the Engineer/Mixer Guru of these projects (who hates EVERYTHING he doesn't already know about) got his hands on a pair of Geoff Daking's compressors and that's been it ever since.

The Compex "sound" is a very specific one, indeed....very "English", punchy, and the Daking does this as well as any number of other types of compression, but with a cleaner signal path. I have both and often A/B them, occasionally reverting to the Compex for the odd "Vintage" sound, but, generally, when a clean and open sound is called for, it's the Daking. And, in the scheme of things, they're quite reasonably priced.

Posted: Sat May 11, 2002 3:13 am

I have a Vocal Stresser from ADR, I will have to pick up a Compex if I ever see a bargain unit for sale...

You see them quite a lot here in the UK.

Are they German or something?

Smile

Posted: Thu May 16, 2002 6:54 pm

Someone up there nailed it with the Manley Vari Mu.
The new mod is fantastic and makes the unit much more versatile. I used to use it on 'good' mixes
as opposed to 'crunchy, radio' mixes. Now I can use it for any mix. The guy doing the mods is a great guy named Paul Fargo. It allows for a much tighter low end and a transparent top. Or - smash the mix to pieces.

Posted: Sun May 19, 2002 1:11 pm

Cool news!

It comes just at a time where I have fallen back in love with my SSL compressor!

But duly noted.

See folks? Chap does rave about gear OTHER than Apogee!

Very Happy

Posted: Sun May 19, 2002 5:39 pm

It's funny that I've become this 'Apogee' guy.
I have endorsements and artist deals with almost every company I like except for Apogee. I just felt Digi boned us good when they tossed out the competition and I said so. I had no idea that it would turn into this emotionally charged sillyness.
Want me to rave more about my Massive Passive or Vipre? I prefer talking about those things because I don't have to research every post. Somone's gotta chase the windmill. Thanks for not pigion holing me Jules. I actually make a living playing guitar and producing, not shilling for a company whose integrity I admire. How you liking those Adams? Makes mixing so much easier. Cheers.

Posted: Thu May 23, 2002 9:53 pm

Mix 101 question here; pardon for the turd in the punchbowl but:

I heard that you should make a final mix without hyping much and leave the hyping to the mastering experts.

Is this stereo-buss compression being done in lieu of mastering or what? Does the 2-buss compression piss off the mastering gurus?

Actually I am back the amateur level of synching a port-a-studio with midi keyboards (and I'm ashamed to say, midi drums).

At any rate I mix through my BA Neve 1272 (then through a Rosetta and SV 3800 DAT). The Neve gives the mix a strong quality given my other limitations.

My buddy Larry Williams gives the mix a little mastering tweeking on the computer via Waves and I'm done.

I guess I just have a general question about how 2-buss compression interplays with the mastering process.

Posted: Thu May 23, 2002 11:42 pm

Quote:

Originally posted by subspace:
Veering slightly off topic, the Smart always struck me as a flavorful mix or drum bus compressor. Anybody like it for tracking certain instruments?
And now back to our regular mix bus programming... listen to a 1969 yet?

I have the 1969 and I think it's a wonderful piece. The big switch makes mixes think, but stable. The attack and release are switches. It's easy to get dialed in and each setting does sound different. It's also a good tracking comp, and has two mic pres and an instrument DI. It totally rocks!

Posted: Mon May 27, 2002 9:24 am

Quote:

Originally posted by Sir Bob:
...I heard that you should make a final mix without hyping much and leave the hyping to the mastering experts.

Is this stereo-buss compression being done in lieu of mastering or what? Does the 2-buss compression piss off the mastering gurus?...

Let me see if I figured this out.

Stereo-buss compression is for bussing a group to a stereo-buss for backgroud vocals or percussion. It is not for the entire final mix?

Posted: Mon May 27, 2002 12:41 pm

Whatever happened to the venerable Neve 33609? That was 'thee' shit for years and years. I have two Chandler LTD 2254A's that link and sound incredibly similar to the 33609. I've been using a '1969' for the past year or so, with good results (mostly pretty rockin' stuff). The 'Big' switch and Fletcher's recommended *Fairchild* setting work on almost everything.
Benjy

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