One of the reasons I went for the UAD-2 card and its lineup of compressors is something my daughter relayed from one of her teachers. He felt that one of the big advantage of using software compressors is that you could have a whole pallet of them that had an effect on not just transient response, but also tone. You might not have the particular characteristics of any single outboard unit, but for the same price you had a whole bunch of "colors" you could play with. I'm still learning about the units i got last week, but so far I've like the slow, mellow LA-2A for smoothing out a ballad or keeping a mando under control. The Fairchild plays nice with my bass and a little more aggressive vocals. The LA-3A on more aggressive vocals still. I'm still experimenting on drums.

The fairchild can apply a lot of compression on vocals and shapes it rather nicely... Very true...with agressive or small voices it is very usable.
The Neve has this preset "glue-it-together" which is doing exactly that with good results on many mixes. Fast solution for any rough mixes.

Lately I worked with this little baby...
Very likable, indeed.

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Thanks Steve, for the link however, the link is broken because the url has a space between Tubelink page.htm . I've contacted them to make them aware of it. Hate to see anyone loosing business over a simple mistake!

Looking at the homepage, [[url=http://[/URL]="http://www.audiotec…"]Audio Technologies[/]="http://www.audiotec…"]Audio Technologies[/] I followed it to their TUBELINK and it looks sweet. Continued to their dealers page to see the price on it and saw that Odyssey Pro Sound, whom I know / and that link was broken lol. Retyped their homepage , did a search and found the MAP at $3,264. Looks like a really nice comp. That was fun... Keep em coming!

Hey, what do you know about the sound of this comp?

BobRogers, post: 357683 wrote: One of the reasons I went for the UAD-2 card and its lineup of compressors is something my daughter relayed from one of her teachers. He felt that one of the big advantage of using software compressors is that you could have a whole pallet of them that had an effect on not just transient response, but also tone. You might not have the particular characteristics of any single outboard unit, but for the same price you had a whole bunch of "colors" you could play with. I'm still learning about the units i got last week, but so far I've like the slow, mellow LA-2A for smoothing out a ballad or keeping a mando under control. The Fairchild plays nice with my bass and a little more aggressive vocals. The LA-3A on more aggressive vocals still. I'm still experimenting on drums.

Thanks Bob, that's what I'm digging at. Trying to find the sweet spots for both plugins and hardware comps. Wondering what everyone is finding works best for their needs and is there one hardware or software comp that kind of polishes it all for certain tracks or final mix that you've discovered. Ultimately so we can read between it all and learn more of what everyone is finding this round.

I have the SCL-1 coming next week for my mastering chain but I'm also interested in how it will perform for more than that. I'm discovering and on a search for things I don't' know.

Love to have the Slam.

I have heard it in a studio close to my house maybe 6 years ago, I remember it sounding pretty warm, probably something I would use on some shrill female vocals (or maybe to fatten up a dull electronic mix), but that was after an hour of rehearsal. I have met the owner a couple times when he was fixing a guitar pre amp for me. Nice guy, good gear, but wow, sounds like he could use a new web guy!!!