Out of all the comps you've used or heard mentioned, what is the most useful, must have or desired mastering compressor?
Only dealing w/ plug-in models... but get good use out of 1176 for individual channels and Vari-Mu for stereo apps... usually the 2-bus, but sometimes drum busses.
While I'll use others from time to time, these tend to be my default comps, and also sometimes the 2500 models on stereo busses.
FWIW - I'd love to see how my digital groups/busses would compare to the same stems sent to a hardware version of the same compressors.
In addition to the accuracy of the modeling, I'm as interested in how the variances in signal chain and units play a role.
I'd like to hear a Phoenix and a Requisite LM2 as I hear they are good compliments to a 2500.
I have a love hate relationship with the Manley Vari-mu comp.
Sometimes it can be very useful and other times it just pisses me off.
I do like the Tube Tech smc 2b and find that a bit more useful on a day to day basis.
Been hearing good things about the Foote PC3 and wouldn't mind giving that a go
at some point.
Okay, okay, are we actually talking most useful compressor or most useful limiter? And why? For instance, when I need limiting, the 1176 pair strapped for stereo works very well. On the other hand, if I want to impart a more "FM radio like sound", I'll use the Orban 418A. These units both have peak detectors.
When I want the best overall wideband compression (we're not talking about spectral compressors are we?) I'll use dbx 165A's (RMS detectors with VCA gain reduction) or the UA LA 3A's with electroluminescent optical-based compressors.
If I want the best spectral compressor, Dolby 165A's.
And are we talking about recording applications or disc mastering? Like it really matters? Of course it does.
I think we all understand this? A? (Or in Canadian speak, eh?)
Mx. Remy Ann David