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. :D

Scott
"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.

Jon

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. :D Occassionally, I'll send all of that through an rnc for a little extra tickle!

Tim L

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.

Jon

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.

Hi Cold,

Assuming you are talking about mix bus compression and not limiting, I would personally start at a ratio of between 1.5:1 and 3:1 and initially set the threshold to see .5 to 2.5 dB RMS of GR. Of course, it depends on the box being used, the music, how much caffeine is in my system, etc. Most folks set the attack based on how much punch & pop they want to hear from the drums. Too fast, and you'll lose the drums and the high-frequency transients. For the release, some like it as fast as possible before distortion sets in, and others set the release to rise/crest in time with the tempo. Just don't make it pump too much or else your mix will sound like 1993. Happy smashing.

Jon

Hi Jules, good to see you! When are you planning on trying out some ADAMs, Dyns, or Questeds? Keen to hear the ADAMs, myself. Are you definitely going to AES NYC?

Henchman, I try to avoid compressing the whole mix too.

Jon

Focusrite RED3 is Great.

Thanks for all the input. I think I'm going to order the Avalon 747. I like the fact that it has a nice eq so I can use my Speck's on individual tracks. Being able to choose a signal path of Class A or Tube is nice as well. And the built in high and low side chains that you can add more compression to certain frequencies kinda put me over the edge. I know it isn't that aggressive but I use a rather aggressive comp when tracking (Purple 1176). I'm still interested in what you guys are using, however, so keep it coming if you would like. Thanks again.
Mike

I have a Trident stereo compressor to play with over the next week or so. Anyone ever use one? Comments?

Hi coldsnow
I'm actually mixing with an Avalon 747. I reaaly like it on submixes. I don't compress the master. You're right it's not such an aggressiv engine but it sounds really sweet. I'm actually trying to push it a little bit with lots of gain into the tube stage. Don't habe that much experience with it but I like it so far (the eq is usefull and the side chain filters are really like candy on a cake) ;)

jo

Poor old Jay! :)

Well, Jay, I'd sure love to hear it!

So Jules, how do you get all the fun gremlins on your posts? Just click on it? Let's see if it works...

:)

Nope. I know it's really rare and it's not mine yet. PAD has one listed for almost double what I can grab this one for. I've only seen one other one in person and I know there are a handful out there. Any info is appreciated. I'm short on cash this month because I just got the JH-24 and honestly if this wasn't so rare I wouldn't even be looking at a compressor. I'm sure someone out there knows something about this thing...

As long as we're asking: anyone else out there ever played with an Altec 1591a? It's solid state with mic and line inputs. I picked one up really cheap on e-bay - and am having the greatest time with it - squashing a room mic, running bass tracks through it, etc. Sometimes when you solo the track it sounds like shit (noisy, grungy), but somehow back in the mix it can sound amazing! I'm guessing it's from the 1960's, but i don't really know. :D :D

Attached files

Originally posted by Jay Kahrs:
I'm sure someone out there knows something about this thing...

It seems like Fletcher would be the guy to ask about this. It's a good bet he'll either know the piece himself or someone who does.

Tim L

Fletcher is in London, UK. I raised Jays question about it this afternoon over cocktails at The Library, he knows.. oh yes, heeeeee knows!

:)

Fletcher and I were both drooling over a 70's EMI console today, getting a refurb at Funky Junk London. It had a fantastic built in compression on each channel linckable for stereo too.

:)

Hey,
Does ANYONE have the API 2500 stereo bus compressor??

Benjy

Hey it's Benjy...good to see you. I have so far not heard the API 2500 yet. What are your favorite stereo comps right now?

Jon

Attached files

Sony came by The Library last Friday and brought a beta Compressor plug in with em. It sounded V V good.

Using the Sony plug in comp AS A SWAP for a hardware SSL compressor - Sounded Fine!

It will be out next year.

:)

Hey,
I recently bought a 'Drawmer 1969' for two bus compression...which works quite well. But, I'm still in search of! I need to try the 'Pendulum 6386'. I'm very *drawn* to this box. Gotta' hear it.
I recently had a record I mixed mastered by Scott Hull. He mentioned the 'API 2500', although he has not heard it. I'm a little confused, in that; when I called API they said there were only a few around. When I called my local dealer in NYC he said, "Oh, I know a few guys that have that box...for over a year!" Fletcher then told me it was still being tested by a few guys in the field. Mmmm!
I was always a BIG 'Neve 33609' fan. I have a Chandler LTD-2, which is a 2254 Neve-alike (it's great). I'm going to get another one to link for 2-bus work. AHH!!
The weird thing is...a 'Really Nice Compressor' does the job quite well.

Benjy

If I don't want the compressor to be heard, I use an Aphex compellor followed by a Dominator.

Not an entirely intuitative set of controls, but when they are set correctly, you can't hear this system working.

I have also used the RNC which is a close second at about $1000 less than just the Compellor.

As I have done a lot of mastering both here and in Europe, I had gotten somewhat spoiled through using the best available compression when mastering ... and that screws you up when you cannot use the same quality gear when you're tracking / mixing. Thank god thats all solved now I've got my own place and don't have to move from studio to studio anymore!!
Whith that, of cause, the "gathering of the favorites" (and then hurting everytime you find out how much..... but you gotta have it!).

The compressor I have used over the last 3 years for mastering is Stayne's Atomic Squeezebox. Despite its name, its a very serious piece of hand-build gear, the only one I have found that does not sound like a typical compressor. In other words, if you are looking for something which sounds / has an effect like a typical compressor, its not the one for you. This one somehow seems to open things up, enhance definition, without bringing the usual artifacts.

I often, but not always, use a Crane Song STC-8 at mixdown. I've had very good use of that one actually, it has a lot of uses.

I also have a couple of other 2 ch compressors, but nothing in my rack beats the STC-8 at mixdown.

/Mats

For benjy or anyone else seriously interested in an API 2500, i happened to notice there is one up for auction on e-bay ending Nov. 25th. The bidding was at $1750 last time i looked.

For your convenenience I copied the URL:

http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1487525833

:cool: