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One thing about this comp is that it takes constant tweaking. To get the unit set up right is quite a task sometimes, but still allows for a lot of variability. I've found that it acts as two different compressors when tracking and when mixing, which makes matters even more complex. It's a really aggressive and noticable compressor when tracking, and not always the easiest one to just run with when the client's getting ancy. But in mix stage, the compressor is noticably smoother and you can get away with quite a bit of compression without hearing too many aritifacts. It'll still pummel things like drums and acoustic guitars pretty nicely, but not as severly as when used live. Very weird. Back to the distortion... This thing has got notoriously low headroom, but can distort pretty nicely, especially on mean bass guitar or submix under a snare. The transformers seem to saturate pretty nicely to round things out, and it's got a diode limiter on the output stage. This can be used to great lengths by padding down the output and cranking the input and output. Haven't actually used this deadly explosion of sound in a mix yet, but I'm waiting for the chance. Like I said, I just got it, and I myself am trying to figure out how the hell the thing really works, but it's really fun. The manual is really enlightening, and shows how ambitous Spectra Sonics was when they were making this thing. They actually recommend padding down the output and using the diode limiter as "failsafe" on broadcasts or something. Fidelity? I guess they were'nt really thinking about that. Little did they know, they were just designing some secret weapon for people to destroy things with. You can download the manual off of the purple audio site's documents section.
my 2 cents
Erik Wofford
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