Help me Choose a Comp or 2

[Screws]

Ok, so the Manley Slam is definitely not in my immediate future.

Moving on, I still need (I think) ELOPs for vocals and some 2-bus stuff as well as something faster for pop and rock mixes.

I'm considering a Langevin DVC to cover the ELOPs, but I'm stumped as to the most versatile partner for the faster stuff.

Drawmer 1969
Fatso
2 Distressors
Alan Smart C2

My current line is 02R onboards (decent for a few things), JoeMeek C2 (ok on a couple of things) Gold Channel onboard DSP comps (also ok on a couple of things), and the very versatile RNC.

What I feel I lack is glue, sheen, the AHHH! factor to my mixes. I also struggle with dynamic vocalists (amateur, pros do this themselves) to keep them sounding big without overload.

Help! Your opinion is greatly appreciated.

Steve Cruz
Florida

 

[Mad John]

Hi Screws,

Welcome to the delemia that most of us face at some juncture in the path to ultimate Compressors and the sonics they employ!

I too was in your predicament not too long ago. For years I had nothing but a Alesis 3630 (yeow!) Then I made the decision to get a good Tube Compressor, but money was tight. I really wanted the Jim Demeter VTCL-2a, but they were doing a refurbishment on it, so I would I had to wait a few months.

Then I got hooked on the whole "Joe Meek" thing (got some Cheese w/that Meek?) I had it abot 1 week and something went out on it, not to mention I was not that impressed with the device.

Anyway, I returned the SC2 to the company that I got it from and my dealer turned me on to the Empiricle Labs "Distressor" , which I had never heard of before. Well he sold me on them, once I did the research and they have been a vital part of Zythum Studios when it comes to tracking! they really are an indespesible tool, but I do not use them as "Compressors" per say. I use them as "Sound Tweakers" , if you can dig it.

I still needed the "Glue Factor" that you descibed for 2-bus mix. What to do? After furious research on going forafew months,(the Distressors kept me busy while getting to know them!) I came to the conclusion that The Manley MU Compressor was the Baby for me. I had the Mod done to it so instead of 8 it has 10 TUBES in her!(Get out the fans!)

The Manley MU is exactly Srews what you are descibeing! It is MIX HEAVEN!!! Expensive, yes. Worth it? Beyond what words or Financial Missery can hamper. I speak no lie the Manley Mu w/ Modification is the absolute Bomb!

I certainly wish you all the luck in your hunt! :tu:

Cheers,

 

[RecorderMan]

Hey Screws...howzit goin'

I can ownly speak of my experiance....and on top of that usually only contribute an opion not expressed, yet.

For the glue that your talking about on the two bus I'd get the Alan Smart compressor...a little more versatile than it's benchmark (the ssl stereo bus compressor). It adds a top and bottom to the mix along with a nice "package" that does the "glue" thing. Very easy...also SLAMMIN on drums (OH"s when you track...etc).

I'd get an 1176 in there somewhere.

Nobody metionsTube Tech CL1B much on these forums. An EXCELLANT vocal quality compressor (Tube)

Neve 33609 (or similar)...excellant.

Summit TLA100....EXCELLANT...very open and fat with attack and release adjustment .

Oh...and the RNC are too good to not get a couple considering how cheap they are (unless your on a large format console with comp.'s on every channel; ala ssl,neve,ect.)

my two cents

 

[sdevino]

Save yourself some money and have your clients send your stuff to a mastering house. I take everything off the 2-bus before sending it to mastering with possible excepption of a little L2 limiting.(L2 works great on drum and guitar subs as does C4).

If you have to master yourself than I guess you can't afford a Manley anything. One Massive Passive could pay for a few sessions with Mr Ludwig.

If I had a mastering room I would be all over the Manley stuff, and if I still used outboard gear for tracking (old school) I would be sure to include a healthy dose of Manley gear, but for now I am happy to rent as needed.

 

[RecorderMan]

Originally posted by sdevino:
[QB]Save yourself some money and have your clients send your stuff to a mastering house. I take everything off the 2-bus before sending it to mastering with possible excepption of a little L2 limiting.(L2 works great on drum and guitar subs as does C4).

I agree if we're talking about all pro-tool/DAW mixing. But if you're on analog, with a ssl/ect. across the bus; do it then. get it the way you want it to sound. There's an interaction between the mix and a 2-bus compressor that's best acheived during the mix. Learn the art...and acheive better results. "Leaving it till mastering" is too much like "leaving it till the mix" when your recording.

 

[wiggy]

Ride on... RM could not have said it better.

too many people are too scared to be making the hard decisions these days.... digital has given them the freedom of flexibility..

I must admit that i am staid in my old school ways like compressing and eqing to tape or disk so that when i pull up the faders it sounds the way ( myself, client, producer) wants it to sound punchy and vibey!!!!!

By relegating decisions to someone further up the tree it places more emphasis, hassle and sonic liability for them to deliver what the client wants.. EG say there is not enough bottom end in the kick but too much int he bass that can not be sorted out inmastering without affecting the relationship between the two.. so its time for eveyone to get wise and stop thinking about he undo button and move on and start living life int he fastlane again without th esecurtiy blanket of CTRL Z.....heheheeheh

BTW... SSL Al smart is one fo the best 2-bus compressors... yes RM i too am waiting with baited breath for Kevs 'homebrew' SSL!!!

Manley variable mu is ok but not punchy an dvibey like Smart... i like to hear it work!!!!

PEACE
Wiggy

 

[Screws]

Well, I found a Fatso on ebay, so that will have to suffice for the 2-bus for now. I was thinking of a Langevin DVC for the ELOPs, but they have no sidechain, and EveAnna tells me it's about a $500.00 mod. For that much I can jsut about nail a Manley tube ELOP with the 100 hz and 200 hz filter in the sidechain. Maybe that's why the mod is so much, Manley wants me to buy a Manley.

So are there any other nice stereo ELOP choices for for vocals, bass, and other stuff?

Thanks for all your input, there seems to be some consensus on the Alan Smart, and it will definitely be on the short list of future purchases.

Steve Cruz
Cruzified Music
Florida

 

[sdevino]

Originally posted by RecorderMan:


I agree if we're talking about all pro-tool/DAW mixing. But if you're on analog, with a ssl/ect. across the bus; do it then. get it the way you want it to sound. There's an interaction between the mix and a 2-bus compressor that's best acheived during the mix. Learn the art...and acheive better results. "Leaving it till mastering" is too much like "leaving it till the mix" when your recording.

Unless you find a great mastering house. Of course I use a little L2 and C4 on the 2-bus when I mix but I take it off when I 'm done if it is going to a mastering engineer I trust. If it is someone I don't know I might leave some on before sending the 24 bit files.

I also monitor in 16 bit just for good measure whe n I mix.