18th January 2008
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#1 | | Lives for gear
Joined: Jun 2003 Location: Central Europe
Posts: 4,095
Thread Starter  | Vertigo VSC-2 compressor: on the way to sonic bliss
I thought that after trying and using so many of our beloved high end sound alchemy toys, nothing can surprise me too much any more. My mastering chain seemed to be very well settled among Gyraf G14 tube EQ, Gyraf G10 tube compressor, Crane Song STC-8, Crane Song Ibis etc. and I had no desire for any change - it seemed all quite perfect, covering most of the sonic needs ...
When in the beginning of December my friend told me: a brand new very special compressor was sent to us for trying, I did not seem to be much interested. I told him - you see, we have already so many compressors (including Pendulum OCL-2, Tubetech, API, TFTPro etc.), why to bother with another one, try it for yourself and then send it back.
When I went to see him some days later, just to collect Geffels M582 and Siemens V276 which I so much wanted to test , he again reminded me that compressor but I said – well, we would have to fetch it from your studio which is at the other side of Prague, let us forget about it. But then I got some sudden intuitive impulse, changed my mind and told him – yes, OK, let´s go.
So in the end I brought this beauty to my studio: 
First, I was very eager to try Gefells and Siemens preamp. But to my surprise and after some trying, I found that I did not like either too much. Comparing to my Schoeps and Forssell, they sounded like a second league a bit ... so I was a bit disappointed.
Then I remembered I still have that blue compressor here – let me try it. I connected it properly, switched on my other compressors and selected few interesting mixes for trying. First I listened through Gyraf G10 and STC-8, the units I am quite familiar with. Sounded very nice. Then I switched to Vertigo. After listening for few seconds, my mouth opened quite a bit and heartbeat increased. Oh my God , I felt like if a touch of vibrating life was suddenly poured into music, it got a beautiful depth, moving punch and very nice and warm "highest end" velvety touch, yet all that within very clear and transparent realm. It was quite another dimension than the other two compressors. I felt quite dumbfounded. I completely forgot that I promised to be at home very early and when my wife called me with some impatience in her voice, I realised that I already spent almost two hours playing with that blue velvet beast.
Needless to say that the next day I rushed very early and quickly to my studio and continued exploring this extra-terrestrial creature. And it went on like this for the next three weeks. I tried to discover all the sonic possibilities this compressor offers, did lot of detailed comparisons with other compressors and even mastered 4 albums with it (and reaped unusually flattering comments from the clients).
I am not really familiar with the field of electronics etc. so I cannot describe any technical details (you can find them at the Vertigo website www.vertigosound.com ), but I can share my experience with this compressor in practical use.
There is a usual set of compressor controls at the front panel: threshold, ratio, attack, release and make up – one set for each channel. Out of them – ratio, attack and release are fully detended. The stereo/mono switch links and unlinks the channels (in stereo mode, the channel A is a complete master – unlike STC-8 when you still have to adjust the output gain for each channel). Apart from these controls there are two special „side-chains“ filters switchable to three positions: bypass, 90Hz and 60Hz. These are extremely useful and highly musical controls (not just some simple lowshelves ), that quite miraculously treat the usual type of bass-muddy mixes. There are two precise analogue meters that show the degree of gain reduction.
The ratio control offers five ratios, starting from quite a unique „soft“ ratio where the actual ratio varies between 1:1 to 8:1 and is controlled by the input level (sounds quite special). Apart from the common degrees, the release control has another special feature: „auto“ release, which works in the mode that the legendary Fairchild compressor is famous for.
I found that there is an interesting interplay between the degree of gain reduction and the degree of make up – they are somehow interdependent and you can creatively hunt between clarity and a degree of slight „aristocratic“ coloration with the second and third harmonics.
All these controls offer extremely wide range of sonic pallette - from soft and clean (quasi opto) to really striking punchy. But always within highly enjoyable warm, velvet, full, 3D sound - nothing sterile or too coloured. Apart from all this, I found another two principal sound characteristics of this compressor: 1) It does not swallow HF or muds the low end (a common child disease of many compressors) 2) it makes the structure of the mix SO clear, each instrument and sound is clearly defined, with all the details preserved and beautified. And if you desire to deepen a stereo image a bit - you can just unlink both channels and set the same settings.
Simply - one of the rare units that brings a constant pleasure for any kind of music and makes you broadly smile all the time ...
Having Lavry Blue AD DA, I found that I would need much higher threshold level to be able to deal with the Lavry output. But seems there is no problem to customise these levels according to the individual needs. The possibility of having extra in-between values for attack/release sounds also great.
And yes – so far I used this compressor only as a mix buss and especially mastering compressor. But it is very likely that it will excel in the same way as a tracking compressor, which I have yet to try.
I must confess, that based on this deep afair, the ground of my studio relationships has shaken a bit. With grave heart, I had to thank STC-8 for its companion and wished it all the best – it was simply not in that league (left today). And let us see what happens next ...
Anyway, I felt like sharing this unusual experience and now I have to rush to finish some projects to conjure up some extra $$ to be able to marry this beauty soon ... (actually VERY demanding bride it is, but what to do ....) For sure, I forgot some other details and findings which I had in mind, but I may write about them later ...
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19th January 2008
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#2 | | Gear maniac
Joined: Dec 2006
Posts: 280
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looks very good!
thanks for the feedback
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19th January 2008
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#3 | | Lives for gear
Joined: Dec 2005 Location: Belgium // Brussels
Posts: 906
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thank you very much for sharing your impressions Ivo 
very interesting blue beauty !
just a question were you using the STC8's sidechain ?
it makes it far more powerfull !!
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19th January 2008
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#4 | | Lives for gear
Joined: Jun 2003 Location: Central Europe
Posts: 4,095
Thread Starter | Quote:
Originally Posted by livingstone 
just a question were you using the STC8's sidechain ?
| No, unfortunately I never had that kind of cable... But as I said, the two inbuilt sidechain filters in Vertigo are quite remarkable.
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20th January 2008
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#5 | | Lives for gear
Joined: May 2005 Location: NYC
Posts: 1,375
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FULL DISCLOSURE: I sell these compressors!
Ivo:
Great review! You really hit upon versatility and sonic beauty this compressor brings to the table.
The VSC-2 is really going to turn some heads!
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22nd January 2008
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#6 | | Lives for gear
Joined: Nov 2002 Location: Bucks County/Philly, PA  |
OK! Got my interest. Care to share how much Ivo's marriage will cost 
You can PM me if you'd like as well.
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22nd January 2008
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#7 | | 500 series nutjob
Joined: Nov 2004 Location: 500 series Guru SKANK! ; )
Posts: 11,291
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sweet!
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22nd January 2008
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#8 | | Lives for gear
Joined: Aug 2003
Posts: 2,742
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Hm, as much as I like the build quality, concept & people behind the vertigo I wasn´t overwhelmed by its sound.
It´s more subtle to my ears - not as drastic punchy as an SSL nor as soft as a neve nor as clean as my gml. Somewhere between them all.
on the other hand you seem to like schoeps mics which I´m not crazy about as well so I guess - each to his own ... 
just my 2eurocents
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23rd January 2008
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#9 | | Lives for gear
Joined: Mar 2005 Location: Germany
Posts: 1,207
| Quote:
Originally Posted by Shaman It´s more subtle to my ears - not as drastic punchy as an SSL nor as soft as a neve nor as clean as my gml. Somewhere between them all. | Actually that's what I found so cool about the Vertico.
For more color... short release times and a great gain make-up does the trick ;-)
Andreas
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23rd January 2008
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#10 | | Lives for gear
Joined: Oct 2003 Location: Beezers' Nook
Posts: 811
| Quote:
Originally Posted by Jamz OK! Got my interest. Care to share how much Ivo's marriage will cost
You can PM me if you'd like as well. | about $4700
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23rd January 2008
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#11 | | Lives for gear
Joined: Jun 2003 Location: Central Europe
Posts: 4,095
Thread Starter | Quote:
Originally Posted by Shaman It´s more subtle to my ears - not as drastic punchy as an SSL nor as soft as a neve nor as clean as my gml. Somewhere between them all. |
Yes, the Golden Middle Way has been the best way since Buddha times 
But still, the range of controls and possibilities is quite big and creative in Vertigo, so you can come somehow close even to the mentioned extremes, if you wish
The list price is 3940 EUR
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19th March 2008
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#12 | | Gear Head
Joined: Oct 2005 Location: The Ancient Past
Posts: 37
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Any opinions on tracking through the Vertigo? Ivo, how does it perform in that application, compared to your Gyraf or OCL-2?
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20th March 2008
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#13 | | Lives for gear
Joined: Jun 2003 Location: Central Europe
Posts: 4,095
Thread Starter | Quote:
Originally Posted by protozeus Any opinions on tracking through the Vertigo? Ivo, how does it perform in that application, compared to your Gyraf or OCL-2? | You see, I am not the right person to be asked, since I do not use compressors for tracking ... just for mastering. But actually - Vertigo was quite designed also as a tracking compressor, as far as I learnt from the creators.
As for the Gyraf - it is an amazing and unique compressor too, I really love it. In the course of time I realised how these two form an incredible pair ..for my mastering needs ... and clients´utmost hapiness
Now I am very much looking forward to the new Vertigo extension unit - which will provide MS and paralel compression, together with "coloration" function ...
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20th March 2008
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#14 | | Lives for gear
Joined: May 2005 Location: NYC
Posts: 1,375
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We will be posting some audio samples (vocals, drums, etc.) shortly.
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21st March 2008
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#15 | | Gear Head
Joined: Oct 2005 Location: The Ancient Past
Posts: 37
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Thank you, Ivo! Perhaps other users could also chime in.
@jomo1234: samples are always welcome, thanks!
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24th March 2008
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#16 | | Head of Bumping Security (B.S)
Joined: Feb 2004 Location: in the hills of Southern California
Posts: 2,984
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bump..... uh, can we keep talking about this until I can afford one? 
Must have, must buy.  | |
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24th March 2008
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#17 | | 500 series nutjob
Joined: Nov 2004 Location: 500 series Guru SKANK! ; )
Posts: 11,291
| Quote:
Originally Posted by jdunn bump..... uh, can we keep talking about this until I can afford one?
Must have, must buy. | lol
must cut his Credit Card, wife keeps repeating | |
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25th March 2008
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#18 | | Head of Bumping Security (B.S)
Joined: Feb 2004 Location: in the hills of Southern California
Posts: 2,984
| Quote:
Originally Posted by pan60 | In my case it's my parents' credit card, and yeah, I was recently reminded not to use it. No I'm not a kid either... just a pathetic excuse for an adult. If I were married I'd have to get a real job. Guess I'd have to convince them to hire me at GC Pro, as there's nothing else around here, and the economy is not so great right now.
I've thought of seeking some help in designing a mic pre. No, not a 500 module! 
I know the world is not exactly lacking in mic pres, but I do have an interesting idea for the output stage that would be different from anything else on the market. Nothing too complex mind you, but for someone of my limited electronic knowledge, it would require that I pay somebody to do most of the design work. Then there's metal work and all that. We'll see. I don't have a lot of other options at this point, so I may give it a try, unless someone smarter than I points out that it's not a feasible design.
Anyway, that Vertigo compressor sure looks cool! Tell me more about the optional M/S unit they're planning for it.
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25th March 2008
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#19 | | Lives for gear
Joined: May 2005 Location: NYC
Posts: 1,375
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I will have Andy at Vertigo elaborate on the M/S option and a few other additions that are in the works. Quote:
Originally Posted by jdunn In my case it's my parents' credit card, and yeah, I was recently reminded not to use it. No I'm not a kid either... just a pathetic excuse for an adult. If I were married I'd have to get a real job. Guess I'd have to convince them to hire me at GC Pro, as there's nothing else around here, and the economy is not so great right now.
I've thought of seeking some help in designing a mic pre. No, not a 500 module!
I know the world is not exactly lacking in mic pres, but I do have an interesting idea for the output stage that would be different from anything else on the market. Nothing too complex mind you, but for someone of my limited electronic knowledge, it would require that I pay somebody to do most of the design work. Then there's metal work and all that. We'll see. I don't have a lot of other options at this point, so I may give it a try, unless someone smarter than I points out that it's not a feasible design.
Anyway, that Vertigo compressor sure looks cool! Tell me more about the optional M/S unit they're planning for it. | | |
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21st May 2008
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#20 | | Lives for gear
Joined: Aug 2005 Location: Brisbane, Australia
Posts: 1,316
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Just wanted to share my review thoughts on the Vertigo VSC-2. So far I've only explored it for a few hours as it arrived this afternoon & had to re-arrange my racks to squeeze it in with the API 2500 which I also have on demo at the moment. I figured between these 2 VCA style comps I'd have an emerging winner that would remain.
The Vertigo VSC-2 is certainly a solid unit, built like a tank, great switches with a very deep rack size. I patched it in to my Dangerous Master console insert points along with the API 2500 for quick A/B testing. Coincidentally the 2 compressors have almost identical parameters making testing for comparisons pretty straight forward. The main differences is the VSC-2 has an auto release & the 'soft' mode with the variable program dependent ratio. The 2500 has faster attack & release settings & the 'Tone' control section which makes it extremely versatile in terms of the range of sounds & flexibility it offers on a per track basis. I also like the variable link setting with it's filter set which is also unique to the 2500. In between that the settings are very similar so I used the settings that matched where possible.
Ok but what about the sound I hear you say... Well on first impressions I thought the VSC-2 was slightly snappier & more detailed than the 2500 but on further inspection when A/B'ing pre/post compression (level matched) I discovered that the VSC-2 was adding a slight amount of upper mids & highs to the source signal which gave it the impression of a more open detailed sound. A/B'ing the 2500 against the original source (level matched) revealed that the API wasn't adding any additional tonal colour to the source in feed forward mode but had certainly added dynamic character, punch & snap. I was able to match the sound of the compression, depth & character of the VSC-2 with the 2500 quickly & easily but without the added sparkle on the top end that the VSC-2 imparted.
The VSC-2 is a bit deceptive in that it's compression is not overly obvious with mild settings because it doesn't get muddy & adds a slight sheen to the top end. While this might be desirable on some things I wouldn't want it over my masters all the time. This tonal sheen put this box in the 'transparent' cleaner category for me, it was definitely more of a 'one sound' kind of compressor imo.
For this reason I prefer the 2500, it is a lot more versatile for a wider range of material because it doesn't add anything tonally to the source in the mids or highs. Yet the compression character can be aggressive & snappy or smooth & warm when you go through the various knee, thrust & type settings. The most 'coloured' would be the Soft Knee with the feedback type compression setting labelled 'Old'. It is slower & feels fuller in the lows & softer on the highs, yet smooth & open & completely usable on certain styles. Sometimes I find 2 or 3 settings I like on the API 2500 & have trouble deciding which one suits the track best. Which is a nice problem to have, for mastering I prefer flexibility & a wide range of tones if they're all useable. The API 2500 ticks all these boxes for me & has suitably amazed me & my clients on the recent projects I've used it on. If I want to change the tonal character I'd rather use the Sontec to boost highs when/if I need to post compression. I don't want the compressor to add anything in this range for me unless it's an option I can turn on/off.
If the VSC-2 was the same price as the API I would've still gone with the API, however the API is half the price of the VSC-2 so this really is a no brainer for me. I really wanted to hear something special in the VSC-2 but while it's a really nice compressor I just can't see how it's twice the price when it's only one of the many sounds that the 2500 can produce. If I want clean/transparent compression I'll use the Weiss DS-1 for everything else I'll use the 2500 for now. I'm also getting a TC Phoenix 'mastering edition' & a Pendulum OCL2 in for comparison. Two different boxes but I'm looking for some tube action to fill in where the others leave off.
Matt
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21st May 2008
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#21 | | Lives for gear
Joined: Nov 2005 Location: Dublin, Ireland
Posts: 2,465
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Matt,
very interested to hear about your experiences with the API 2500, Pendulum OCL-2 and TC Phoenix.
keep us posted!
__________________
Regards,
Richie.
"a paradigm of restraint and good taste at a time of frequent excess"
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21st May 2008
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#22 | | Lives for gear
Joined: Jun 2003 Location: Central Europe
Posts: 4,095
Thread Starter | Quote:
Originally Posted by MattGray The VSC-2 is a bit deceptive in that it's compression is not overly obvious with mild settings because it doesn't get muddy & adds a slight sheen to the top end. While this might be desirable on some things I wouldn't want it over my masters all the time. | I never tried API 2500, but what from I can read about it most of the time,it is considered as a quite coloured compressor (as most of the API range) ... so that "all the time" factor may be perhaps even more obvious there ?
Yes, Vertigo in mild settings does not make the compression obvious, does not get muddy, does not lose HF, keeps the tight bass etc. - but I would not call it exactly "deceptive" ... For me, it is something like it should be (and with many compressors it is not) . For sure, Vertigo is not 100% "transparent" compressor, it gives the things a small , very pleasant "sheen" (as you mentioned) - BTW the amount of it is quite dependent on the make up settings. And from my experience, it is more "esoteric" than obvious ...
You mentioned you tried it just for a while . If you play a bit with various ratios/attack/releas values (including very special SOFT/AUTO ones), with the sidechain filters, make up changes and various combinations of those, you may find (in the course of days) that it offers quite a number of interesting sound variations ...
May I ask you which AD DA you used for the processing ?
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21st May 2008
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#23 | | Gear addict
Joined: May 2006 Location: Stockholm, Sweden
Posts: 348
| hello
..must chime in..
I can't unhook the vertigo from my mixbuss.. period..
Behind the 5 mccurdy au-300 ..woohoo.. sits the vertigo firmly in my rack | |
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22nd May 2008
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#24 | | Lives for gear
Joined: Aug 2005 Location: Brisbane, Australia
Posts: 1,316
| Quote:
Originally Posted by ISedlacek I never tried API 2500, but what from I can read about it most of the time,it is considered as a quite coloured compressor (as most of the API range) ... so that "all the time" factor may be perhaps even more obvious there ? | Well this is the thing, with the 'New' feed forward & 'Hard Knee' married to the 'Med' Thrust setting the compression gets tight, snappy & punchy with a hint of that SSL sound or more like the Vertigo (without as much sheen). With the 'Old' feedback, 'Soft Knee' & 'Med' or 'Normal' Thrust modes it can sound soft, warm & smoother. But all of these settings with a longer attack, low ratio & fast release & with only a tickle of gain reduction are subtle differences but it literally brings the music ALIVE. So you can have some slight aggression if you want or smooth & warm & slight variations of that in between settings.
For me the whole point of analog compression is to add character & warmth imparted by the settings you use for a particular track. I don't like high end sheen or mid presence that can not be altered & is inherent as part of the 'sound' of the compressor. The API 2500 adds a lot of different characters depending on the attk, release, ratio, threshold, knee, thrust & type settings while keeping the EQ of the original source mostly in tact. Like I said if I want transparent or clean I'll use digital. Quote: |
Yes, Vertigo in mild settings does not make the compression obvious, does not get muddy, does not lose HF, keeps the tight bass etc.
| Agreed but it doesn't lose HF because it adds it. The API doesn't lose HF, doesn't get muddy, makes drums punchier yet controlled & doesn't change the EQ balance of the track & imparts a variety of very useable compression characters. Quote: |
You mentioned you tried it just for a while . If you play a bit with various ratios/attack/releas values (including very special SOFT/AUTO ones), with the sidechain filters, make up changes and various combinations of those, you may find (in the course of days) that it offers quite a number of interesting sound variations ...
| I've got this demo unit on trial for the next few days, so I intend on playing with it some more. However I'm usually pretty good at deciding on a piece from first impressions, the API made me smile every time I punched it in & I was amazed at the various possibilities. The Vertigo sounded good but everything had a 'sheen' & I can't get rid of that, the auto release is very slow & you can see that by the GR on the meters. You mentioned 'fairchild' inspired auto release, but how often would you actually use a fairchild style release in mastering? If this compressor was warm, fat & smooth without the sheen it would be more 'fairchild' like with that auto release. I couldn't imagine using the auto release option very often if I owned the Vertigo. For rock, hip hop etc I prefer my VCA sound to be faster & slightly more aggressive, which the Vertigo can do to a certain extent with faster manual release settings. The 'Soft' feature on the Vertigo is a good idea but again I couldn't see it being any more advantageous over the API set to 1.5:1 with the 'Loud' thrust setting where it compresses the highs & mids more aggressively depending on the level of the program. Quote: |
May I ask you which AD DA you used for the processing ?
| No A/D for my listening/testing purposes, I have the Dangerous Music mastering console with the 'Master' section & the 'Monitor' section. This allows me to level match & monitor analog sources & processors all in the analog domain. I can hardwire bypass the insert points & instantly A/B pre & post the processing with an analog 'input monitor offset' gain pot. The D/A going into the analog chain is a Cranesong HEDD 192 with the newer upgraded D/A board. I've also got a half inch ATR which I can load up an all analog recording to feed the 2nd input to my analog processing chain which I hook up to test gear from time to time as well.
To summarize, I think the Vertigo is a classy bit of kit, it's built well, looks great & it does sound very good, however the added sheen gives it a cleaner sparklier sound which was always present in my tests regardless of the various settings. If this is your thing you will love this compressor, if you want a unit with more versatility & less 'tonal colour' on the high end I personally wouldn't recommend the Vertigo.
I think if the Vertigo had of been released back in the day where everyone was tracking to 15ips tape through a completely analog path that it would be perfect for cleaning up the signal at the end of the chain & would help with clarity & separation while controlling the mix in a nice way. These days we have to deal mostly with digital mixes or at least partly digital mixes where the highs & mids are often already overly accentuated. For these reasons I'm looking for warmth, depth & control on the upper mids & highs.
Matt
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22nd May 2008
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#25 | | Gear Guru
Joined: Jun 2002 Location: New York City
Posts: 14,175
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When i tried it i thought of 2 words:
Politely boring.
And the price? 
Also why no stepped output for a mastering comp?
I easily passed on it.
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22nd May 2008
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#26 | | Gear Head
Joined: Jul 2007
Posts: 73
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I also auditioned the Vertigo, coincidentally, while mixing a record with a band called THE GRATES from your very own Brisbane, Australia!!! Again, I thought it was a quality piece of gear, but it didn't grab me the way that gear just grabs you right away. For that money, you really need to feel a connection. The first time I heard THE PHOENIX on my mix bus I felt that connection. Same goes for the API2500. I use it on my drum bus usually, but I love it anywhere. At the same time as the Vertigo, I auditioned the ALTO MODA UNICOMP. I kept that. It's pretty cool. Quote:
Originally Posted by MattGray Well this is the thing, with the 'New' feed forward & 'Hard Knee' married to the 'Med' Thrust setting the compression gets tight, snappy & punchy with a hint of that SSL sound or more like the Vertigo (without as much sheen). With the 'Old' feedback, 'Soft Knee' & 'Med' or 'Normal' Thrust modes it can sound soft, warm & smoother. But all of these settings with a longer attack, low ratio & fast release & with only a tickle of gain reduction are subtle differences but it literally brings the music ALIVE. So you can have some slight aggression if you want or smooth & warm & slight variations of that in between settings.
For me the whole point of analog compression is to add character & warmth imparted by the settings you use for a particular track. I don't like high end sheen or mid presence that can not be altered & is inherent as part of the 'sound' of the compressor. The API 2500 adds a lot of different characters depending on the attk, release, ratio, threshold, knee, thrust & type settings while keeping the EQ of the original source mostly in tact. Like I said if I want transparent or clean I'll use digital.
Agreed but it doesn't lose HF because it adds it. The API doesn't lose HF, doesn't get muddy, makes drums punchier yet controlled & doesn't change the EQ balance of the track & imparts a variety of very useable compression characters.
I've got this demo unit on trial for the next few days, so I intend on playing with it some more. However I'm usually pretty good at deciding on a piece from first impressions, the API made me smile every time I punched it in & I was amazed at the various possibilities. The Vertigo sounded good but everything had a 'sheen' & I can't get rid of that, the auto release is very slow & you can see that by the GR on the meters. You mentioned 'fairchild' inspired auto release, but how often would you actually use a fairchild style release in mastering? If this compressor was warm, fat & smooth without the sheen it would be more 'fairchild' like with that auto release. I couldn't imagine using the auto release option very often if I owned the Vertigo. For rock, hip hop etc I prefer my VCA sound to be faster & slightly more aggressive, which the Vertigo can do to a certain extent with faster manual release settings. The 'Soft' feature on the Vertigo is a good idea but again I couldn't see it being any more advantageous over the API set to 1.5:1 with the 'Loud' thrust setting where it compresses the highs & mids more aggressively depending on the level of the program.
No A/D for my listening/testing purposes, I have the Dangerous Music mastering console with the 'Master' section & the 'Monitor' section. This allows me to level match & monitor analog sources & processors all in the analog domain. I can hardwire bypass the insert points & instantly A/B pre & post the processing with an analog 'input monitor offset' gain pot. The D/A going into the analog chain is a Cranesong HEDD 192 with the newer upgraded D/A board. I've also got a half inch ATR which I can load up an all analog recording to feed the 2nd input to my analog processing chain which I hook up to test gear from time to time as well.
To summarize, I think the Vertigo is a classy bit of kit, it's built well, looks great & it does sound very good, however the added sheen gives it a cleaner sparklier sound which was always present in my tests regardless of the various settings. If this is your thing you will love this compressor, if you want a unit with more versatility & less 'tonal colour' on the high end I personally wouldn't recommend the Vertigo.
I think if the Vertigo had of been released back in the day where everyone was tracking to 15ips tape through a completely analog path that it would be perfect for cleaning up the signal at the end of the chain & would help with clarity & separation while controlling the mix in a nice way. These days we have to deal mostly with digital mixes or at least partly digital mixes where the highs & mids are often already overly accentuated. For these reasons I'm looking for warmth, depth & control on the upper mids & highs.
Matt | | |
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22nd May 2008
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#27 | | Gear interested
Joined: Nov 2007
Posts: 12
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Hey Matt
can`t share your opinion on the Soft ratio! I can use it with short attacks riding on transients (wich i can`t at all with 1,5:1 with my Api ) so it`s a fantastic feature! Maybe you shouldn`t compare same settings -just try what best results you get out of each box.
About price: Yes the weak dollar makes Api really cheap and vertigo expensive-but also quality seems much better on the Vertigo comp anyway.....
so i like both anyway. If you like the Api so much-go-get it!
ciao
Andrea | |
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22nd May 2008
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#28 | | Lives for gear
Joined: Aug 2005 Location: Brisbane, Australia
Posts: 1,316
| Quote:
Originally Posted by Marea Milano Hey Matt
can`t share your opinion on the Soft ratio! I can use it with short attacks riding on transients (wich i can`t at all with 1,5:1 with my Api ) so it`s a fantastic feature! Maybe you shouldn`t compare same settings -just try what best results you get out of each box. | I agree that they aren't going to be identical settings. Personally I just got the most useable settings from the API, if I had both in my rack the Vertigo would be in use maybe 5% of the time, the API more like 80% of the time, the Weiss DS-1 gets used daily for various chores & I'm hoping the next compressor I get will cover the remaining. My posts have spelled out that I prefer the versatility of the API & so I will be sending the Vertigo back tomorrow without any regrets. I did try to get the best out of the Vertigo but for me & my current chain it just didn't suit my particular needs. Quote: |
About price: Yes the weak dollar makes Api really cheap and vertigo expensive-but also quality seems much better on the Vertigo comp anyway.....
| I could've bought the Vertigo & price isn't the issue, sure it's built well & that justifies the price somewhat, but I just wasn't into the sound of the unit. It's the reason I passed on the Shadow Hills Mastering Compressor, it was built well, had nice switches, looked amazing but the sound wasn't 'Amazing' to me so I passed on it. It's so important to try out these boxes before parting with your cash. I'm not afraid to spend money on boxes that are worth it, where the sound fits the price point & gives you that 'wow' factor. Regardless of price, the API just gave me more wow factor than the Vertigo. Quote: |
so i like both anyway. If you like the Api so much-go-get it!
| I paid for it yesterday & will pick up a new one on Sunday. Trying to get the OCL2 & Phoenix in next, one of these will make it in to the rack too.
Matt
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22nd May 2008
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#29 | | Lives for gear
Joined: Aug 2005 Location: Brisbane, Australia
Posts: 1,316
| Quote:
Originally Posted by PKatis I also auditioned the Vertigo, coincidentally, while mixing a record with a band called THE GRATES from your very own Brisbane, Australia!!! Again, I thought it was a quality piece of gear, but it didn't grab me the way that gear just grabs you right away. For that money, you really need to feel a connection. The first time I heard THE PHOENIX on my mix bus I felt that connection. Same goes for the API2500. I use it on my drum bus usually, but I love it anywhere. At the same time as the Vertigo, I auditioned the ALTO MODA UNICOMP. I kept that. It's pretty cool. | Wow that's cool! The Grates are a great band, just checked out your website. Man you have 1 or 2 of everything cool in there, you are definitely spoilt for choice! Also looked up the Alto Moda Unicomp, looks great & has some very nice features including parallel compression. Also has some similar features to the API, how would you compare the 2 sonically? If you had to live with one which would you choose?
Matt
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22nd May 2008
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#30 | | Lives for gear
Joined: Feb 2008 Location: Thessaloniki, Greece
Posts: 2,699
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I am very interested in the VSC-2 as well, but up till now only Ivo seems to like it a lot...
Is there an expansion or some kind of modification available?
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