Focusrite Red 3

Discussion in 'Mastering' started by Cucco, Jan 18, 2006.

  1. Cucco

    Cucco Distinguished Member

    Okay - follow up to my question re: the ELOP.

    How about the Focusrite Red 3 as a mastering compressor/limiter? I found one lcoally here that I can get in mint condition for around $1800.

    I'm very familiar with the sound of the Red series and I do like it, I just don't like the lack of detents.


  2. Man...that is about half price. A very nice addition to any rack. I used one before and really liked it. Quite a bit. Very quiet, very predictable.

    I would love to see what it would do here.
  3. Michael Fossenkemper

    Michael Fossenkemper Distinguished past mastering moderator Well-Known Member

    no detents are a bit of a pain. I think it's a good compressor. May not be what you are looking for though. I had one and never found myself using it. too colored for not wanting to lay a heavy hand, and not colored enough when you want to lay a heavy hand.
  4. Cucco

    Cucco Distinguished Member

    Thanks. You reaffirmed my basic thoughts.

    I guess I should just shut up and pony up the dough for the Massenburg or the Crane Song...Oh well, good bye tuition for my baby...
  5. Michael Fossenkemper

    Michael Fossenkemper Distinguished past mastering moderator Well-Known Member

    There's always boy whoring for a little extra dough. Or you can sell your credits on ebay.
  6. Cucco

    Cucco Distinguished Member

    It's a shame there is no emoticon of a little smiley-dude spitting 92 cabernet out of his nose!

    Thanks Mike!
  7. AudioGaff

    AudioGaff Well-Known Member

    If you want or like the sound of the Red-3, ( and I sure am one of those) for mastering type work, go all the way and get the Focusrite Blue 230 which is the Red-3 with both in and out transformers and steped controls.
  8. Michael Fossenkemper

    Michael Fossenkemper Distinguished past mastering moderator Well-Known Member

    The Blue is much better sounding than the red IMO. Also a bit more than $1800.
  9. blaumph2cool

    blaumph2cool Active Member

    Bah, it's just money right? besides, you can eat raman and mac n' cheese for awhile can't you?
    You might want to lay off the 92' vintage though...

    -Chris W
  10. Cucco

    Cucco Distinguished Member

    No way dude! A 92 cab is the perfect compliment to beef ramen!!!
  11. Cucco

    Cucco Distinguished Member

    Okay, I think I've decided the Amek 9098.

    It will do double duty as a good, clean compressor, but also as a clean limiter. I'm quite familiar with the 9098 line (having used their pres and eqs quite a bit) but does anyone have any first hand experience with their comp/limiter?

  12. AudioGaff

    AudioGaff Well-Known Member

    I found the 9098 compressor to be very disappointing for general audio work or as a mastering type compressor for the audio sweetening work I usually do. It is not flat out bad, but for the money and what is currently available on the market, there are better choices. Good clean and and very transparant, I'd be looking more towards the Crane Song or GML.
  13. Cucco

    Cucco Distinguished Member

    Well DAMN!! That ain't a glowing endorsement.

    I'm gonna shut up now and just hold my $$ until I can get the Millennia, Crane Song or GML... :roll:

  14. Michael Fossenkemper

    Michael Fossenkemper Distinguished past mastering moderator Well-Known Member

    I have 3 9098's. They are excellent compressors, but not so great as mastering compressors. If you want to add a bit of color, they are nice. But you can't push them hard or controll a mix well with them. For a Mastering comp, I'd pick something else.
  15. Cucco

    Cucco Distinguished Member

    I'm surprised to hear you refer to them as colored. Again, I'm not familiar with this particular unit, but the 9098 Mic Pres are as clear and open as they get. That's weird...

    Oh well, I really will just save my dough. I'd hate to turn into the guys up the road who have compromised every bit of their mastering chain (to include Behringer compressors... :evil: )

  16. Zilla

    Zilla Active Member

    From my sense of the mastering market, clients either go to "plugz-r-us" or they put up the dough for a reputable mastering house. Positioning yourself between those two markets will probably not be a very profitable niche. Better to just save for equipment that you won't be disappointed with three months down the line.
  17. Cucco

    Cucco Distinguished Member

    Thanks Scott!

    That is some amazingly simple and true advice.

    Now, I begin saving............

  18. dave-G

    dave-G Active Member

    oops... accidental double-post.
  19. dave-G

    dave-G Active Member

    Well, I thought I'd offer something possibly useful on this thread as a show of gratitude for the entertainment I derived from the 23 page, locked-down circus that got me lurking here again recently. :wink:

    So .. just in case anyone's curious.... the Focusrite Blue 230 and the original Red 3 are identical -- even the stepped controls for threshold and ratio were originally included on the first Red 3s. Later versions of the Red 3 omitted the input transformers and those stepped controls, while still using the same PCB. The 230 originallly was just a blue version of the original Red 3, but with blue cosmetics, both in and out transformers and PPM meters. Later Blue 230s eventually went back to VU meters, but they're better quality Sifams.

    So, AFAIK, the only real "impact" difference is in the transformers or lack thereof in more recent Reds, and some have argued that the difference there is minimal.

    I wouldn't trade my 230 for any Red 3 simply because besides the switched settings for threshold and ratio, at least the thing at least has some lines on the faceplate, making recalls a bit more feasible than with the Red.

  20. frogga

    frogga Guest

    Hey does the Red 3 have a IES connector (3 pin? 2 pin?) AND a voltage select like the Red 1? Otherwise the unit could be limited to US/Europe usage and not both, which is always a shame!

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