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SSL G Buss or API 2500

Member for

21 years
Looking at adding another 2-bus comp to my chain. I'm going to get them both sooner or later but just wanted to hear some opinions. Please chime in and share your experiences on either of these.



Member for

21 years

audiokid Sun, 04/07/2013 - 21:41
There is a single rack strip?

I think the SSL is going to be it though but please try and talk me out of it lol. My STC-8 is relatively close the 8900. I know its not a GML and George would cringe hearing this but its somewhat similar, so I'm told. The STC-8 might have a bit more colour which is more like sliky sheen. before I bought that, I was looking at the 8900 but finally jumped on the STC-8. I love it.

I do want the API because I need something colourful and useful for Rock and Bluesy Stems including 2-bus tasks but the SSL might be the better choice after the STC-8. I hate trying to decide.

Member for

19 years 2 months

Kurt Foster Wed, 05/08/2013 - 09:50
Kurt Foster, post: 403283 wrote: i can't find anything on it now ... they used to be advertised in the back pages of Mix and EQ ... one space SSL compressors racked up by George Massenburg ... they even had the weird square meter.

Thanks for chiming in everyone, I really appreciate the comments!

The GML 8900 is the one I think you are all thinking about, yes, or the GML 2030?

Kurt Foster, post: 403283 wrote: neither one of those. this was a one space box ... silver with a panel that had a strange pebble texture and the square meter that was on the ssl modules in the consoles. i'm pretty sure they were actual compressor modules out of 40 series ssl consoles that Massenburg racked up.

senior moments ....... ahhhh! (angel choir) i just flashed on this ... (musta been the clearlight in that other thread) ... i was thinking of the [[url=http://[/URL]="http://www.smartresearch…"]Alan Smart Compressors [/]="http://www.smartresearch…"]Alan Smart Compressors [/]... i get the two of those guys mixed up sometimes...

Member for

9 years 5 months

mberry593 Tue, 04/09/2013 - 09:34
McMurphy, post: 403278 wrote: Reminds me of the Spectra 610 Sonics Comp Limiter, which I also could never figure out what it was good for LOL? I sold off my pair from a bulk purchase of used audio gear. All I could do was get them to pump in a nasty way I didn't care for much LOL. McMurphy


I had a 610 & I didn't like it on anything! I even sent it back to the factory assuming that it must be defective. When it came back, it was different but still unusable. There must have been something about this that I just didn't get because others seem to have had good experiences with them.

Kurt Foster: "a pair of LA3's & LA4's would be nice"

Let me tell you about my experience with these things. I loved the LA-3's right from the start. I still do. They just seem to be so perfect for everything. I never had a problem with an LA-3. This is from over 35 years of experience with them.


Back in the 1980's, I got a job designing a facility & I wanted to use some LA-3's but they didn't make them anymore so I specified LA-4's. IIRC I had 6 of them. When the operators started using the facility, they immediately complained that some of them sounded horrible. I looked into it and found that indeed some were fine but others sounded terrible! I pulled one of the terrible ones and put it on an analyzer. It had very low distortion below threshold. Also, at large amounts of gain reduction, it had very low distortion. But, at around 6 dB of gain reduction, the THD was several percent. After some trading around, I found this to be a function of the photocells that they used. Some were much better than others. UREI sold replacement photocells as selected parts but they were selected to make the gain reduction metering track the actual action, not for THD. The only alternative was for me to buy a large number of photocells and hand select them myself for distortion. I did wasn't that bad. Most of the ones I bought were pretty good. So, beware if you buy a hardware LA-4, it may require some attention.

There is a problem with all of this. You are lucky if you have something that is really, really, obviously bad. That way you know that it needs some attention. If you are unfortunate enough to get one that is just a little bad, you might not even know it. You might even mistake the distortion for some 'character.' I was lucky to have a number of different LA-4's to compare and contrast. If you have just one, you might not know if it is ok.