Discussion in 'Recording' started by coldsnow, Nov 1, 2001.
WHat compressor do you use when mixing to stereo?
Al Smart C1... Usually on about 2:1, and not digging into the material too much, as it's a pretty aggressive compressor.
I've also used an Oram Sonicomp 2 and liked it (it was much more subtle--good for some things).
A linked pair of Crane Song Trakkers. Or, for about $4500 less, I have an FMR RNC which will do in a pinch.
"Hard work may not kill me, but why take the chance?"
My top personal faves in the 2 mix comp dept. are Alan Smart(many different settings depending on song, style, and how much coffee I've had), Neve 32264, Daking mono's linked, Neve 33609, and my ultimate fav cheap stereo comp the dbx 166a. The RNC is also very cool for stereo bus. I dare ya to try the 166a.
I almost forgot, a Urei 1178 can sometimes be the total bomb.
Anybody have any opinions on the Millennia Media TwinCom TCL-2 (the one with the parallel tube and solid state paths)? I read somewhere you can pop some alternate tubes in to give it more color.
For the 2-mix I have an RNC, a Mindprint T-Comp, and my new favorite--Drawmer 1969 Mercenary edition. The all have filtering of some sort to minimize pumping and breathing created by the low end of the mix. The 1969 seems to have the best "glue factor." It also has 2 mic pres and a DI with hi and low EQ. It's a very cool piece!
Originally posted by McSnare:
and my ultimate fav cheap stereo comp the dbx 166a. The RNC is also very cool for stereo bus. I dare ya to try the 166a.
What?! The last time I used a 166a on the mix bus was in college with an MX5050 8 track and a Soundtracs console. I thought it sounded cool then, but what did I know. I had an original 166 in my rack for a long time and it made everything sound a little bit smaller. How can you say it compares to the Dakings or a Smart? What are you hearing that I don't?
I almost forgot. I'm using a Summit DCL-200 on the mix bus and I'm fairly happy with it. Sometimes I'll use a Demeter VTCL-2a because it has a little more "glue" but I can get more squish from the Summit and it isn't anywhere near as hard to setup.
Try a 166A not a 166 and let me know what you think. Works best on rock when you need that Tom Lord Alge sound. Put the contour and the slow button in, set the ratio for about 4:1 and get a few gain redution lights to come on. Since the unit is a tad bit dark, works best if followed by EQ to add a little air back in.
I might try a C1 or C2, an SMC2B, an 1178, or the quad comp on the desk. Nowadays, I mostly prefer the mix uncompressed.
Originally posted by Jay Kahrs:
What?! The last time I used a 166a on the mix bus was in college with an MX5050 8 track and a Soundtracs console. I thought it sounded cool then, but what did I know.
Ah yes, "B room" @ FTC... Last time I was there they swapped the Otari and the Soundtracs for a TDM 8000 and a pair of DA38's. Keeping up with the bleeding edge of technology I guess. Occassionally, I'll send all of that through an rnc for a little extra tickle!
I often use an api 2500. You can really dial in some unique sculpting with this box while avoiding having the low end of the mix "pump the compressor". If not the api I split the mix into Hi/low frequency info and use the Alan Smart at times, but more often a Neve 33609.
The question really is when do I put it on. I usually set it up very early in the mix in order to mix to the compression. I feel this gets me to a finished mix sooner than trying to fix the mix when puting compression on at the end. I usually master at Sterling Sound and have had good feedback from them about the stereo compression I have chosen to use.
Focusrite Red 3 or SSl Quad compressor.
I haven't yet played with the API 2500...is that the new one? Have not tried the Millennia, either.
Anyone besides me enjoy using the Tubetech SMC2B? (the stereo 3-band valve comp). A very nice tool for mastering, it is also great on a stereo subgroup mult while mixing, esp. vocals. If I'm mixing an R&B track with, say, rapped verses and sung choruses, the SMC2B is my turn-to unit for adding vocal shine and lift to the chorus.
Based on what Fletcher said about the Origin in Julian's forum, I pretty well guess what he might think of the Millennia Media TwinCom TCL-2. But having the option of a really transparent compressor that will control levels while tracking to digital can be a good thing.
Originally posted by Jon Atack:
Anyone besides me enjoy using the Tubetech SMC2B? (the stereo 3-band valve comp).
No but it looks tasty. I'd like to pick up an LCA-2a when I have money again. I gotta pay of the loan on the JH-24 first.
Where do you all typically start at when setting your Rate and Release?
SSL compressor or PT plug ins...
SSL on 10:1 most times.. used it on 2:1 on a Pearl Jam esque ballad today...
I have a Joe Meek it's i/o level set and impossible to A/B bypass is SO whack it pisses me off, that idea of using a mult and folding in a touch of the unit to a mix is a good one.. I must try that soon.. I could do with some of it's 'boogie'. but don't wish to wreck my mix.
I don't use one these days.
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