A Question on Compression

[thethrillfactor]

Originally Posted by rowan wood

Are there Two Compressors to Cover all My Compression Needs?


I seek advice on compressors and limiters, de-essers, expanders? Instead of getting compressors of each, SSL (clean), Neve (fat, warm), Avalon (transparent), and others, I'd like to be able to settle on TWO compressor models that will give me range of compression to cover all my needs. I need compression/limiting that can be used for: “clean” SSL sound, avalon sound (“transparent”), and colored, warm, fat sound. So that is 3 general categories I want to cover with two compressor/limiter models. Also, is there a such thing as colored, clean, and transparent, when it comes to compression? Do compressors have similar descriptive classifications? And if I need gates in order to record drums or any other kind of instrument in my ADAT recording system, please let me know and try to squeeze it in to the TWO models to cover all my needs. Thanks.




?????SSL G series compressor, UA 2-LA , UA 1176, Neve 33069JD, et cetera?????

I'm thinking the UA 1176 and the avalon ad2044 will cover my bases. ?

If this were really possible we would all be fighting over these 2 "magical compressors" and they would be worth a kings ransomn.

Also guys like JJP, CLA, TLA, Spike Stent & MHB would almost have nothing in their racks.

Instead of focusing on 2 things that cover everything, focus on 2 things that do what they do exceptionally well. Than add as you go.

[vernier]

Many of the studios in the 70's just had three or four 1176's, as I recall.
'

[rowan wood]

Originally Posted by thethrillfactor

If this were really possible we would all be fighting over these 2 "magical compressors" and they would be worth a kings ransomn.

Also guys like JJP, CLA, TLA, Spike Stent & MHB would almost have nothing in their racks.

Instead of focusing on 2 things that cover everything, focus on 2 things that do what they do exceptionally well. Than add as you go.

hmmm, ok, so what are your first two choices, and why? and just because you and guys like, JJP, CLA, TLA, Spike Stent & MHB...and DBD, BTL RYU, AOP, DWS, PRW, FLS and many others, don't believe in two magical compressors, doesn't mean i can't believe in magical compressors!

thanks.

[rowan wood]

Originally Posted by vernier

Many of the studios in the 70's just had three or four 1176's, as I recall.
'

Hmmm, that sounds good. That's probably going to be the next compressor I buy. Just three or four means they probably only compressed at the end?

What all around preamp would these studios also have had? UA 610 perhaps? Neve perhaps? thanks

[slopeshoulder]

no, they printed compression to tape track by track (or 4 at a time, or bus by bus, etc), either when tracking, or when submixing. And every time they did it, tape added compression too.

[rowan wood]

Originally Posted by slopeshoulder

no, they printed compression to tape track by track (or 4 at a time, or bus by bus, etc), either when tracking, or when submixing. And every time they did it, tape added compression too.

So compression wasn't used when the sound was going in, unless they only recorded three or four tracks at a time, which means they did not use compression for drums on the way in--unless they only recorded one or two drums kit parts at a time; unless they recorded drums in some way other than the way they are generally recorded: with tons of mics and preamps and other outbaord gear, respectively.

What do you mean by submixing?

So I am going to record on ADATs, believe it or not; so I should be able to use compression as they did, whoever these tape guys were/are?

[Empire Prod]

Originally Posted by rowan wood

hmmm, ok, so what are your first two choices, and why? and just because you and guys like, JJP, CLA, TLA, Spike Stent & MHB...and DBD, BTL RYU, AOP, DWS, PRW, FLS and many others, don't believe in two magical compressors, doesn't mean i can't believe in magical compressors!

thanks.

Just because someone gives you an honest answer that you don't want to hear, you don't have to be a jerk. Thrill was right. Compressors are all different.

[floydisbest]

API 2500 & Distressor maybe?

[Audio Hombre]

there are no magical anythings, so don't waste your time. meantime, get a couple of these.





and i agree with empire.acting like a hot tub fart won't get you far tutt

[basho]

An LA2A / LA3A and a couple of 1176s will cover most applications I can think of. Then again, I'm old fashioned.

[Waltz Mastering]

There are two "magical" compressors out there that you can buy:

1) Altec RS124
2) Fairchild 660

If you pick those up, you'll be good to go... and everything you record through them will sound like gold.

Good luck. TW

[rowan wood]

Originally Posted by Empire Prod

Just because someone gives you an honest answer that you don't want to hear, you don't have to be a jerk. Thrill was right. Compressors are all different.

Dude, I like his answer and it is right. And I was just joking. No need to start name calling; we all have different senses of humor. But I ain't gonna be a jerk to someone who is nice enough to give me advice. And I regret that my response was taken as me being rude.

[rowan wood]

Originally Posted by Waltz Mastering

There are two "magical" compressors out there that you can buy:

1) Altec RS124
2) Fairchild 660

If you pick those up, you'll be good to go... and everything you record through them will sound like gold.

Good luck. TW

Thanks mate! AWESOME.

[rowan wood]

Originally Posted by audio hombre

there are no magical anythings, so don't waste your time. Meantime, get a couple of these. Shiee





and i agree with empire.acting like a hot tub fart won't get you far tutt

what do you call unicorns, huh smarty panties? Just kidding again. That is a cool looking green thing. Gonna check it out. Cheers.

[rowan wood]

Originally Posted by basho

An LA2A / LA3A and a couple of 1176s will cover most applications I can think of. Then again, I'm old fashioned.

I hear this is the classic set.

[rowan wood]

Originally Posted by floydisbest

API 2500 & Distressor maybe?

Which distressor do you recommend. thanks

[thethrillfactor]

Originally Posted by rowan wood

Dude, I like his answer and it is right. And I was just joking. No need to start name calling; we all have different senses of humor. But I ain't gonna be a jerk to someone who is nice enough to give me advice. And I regret that my response was taken as me being rude.

Hey i didn't take it any other way.

I got tough skin...I am a New Yawker.

I would say figure out what you want to do. If its tracking than probably where you would use it most is lead vocal and bass. If its mixing it can be anywhere.

To start out with i would do an La2a type and maybe a Distressor.

[dbbubba]

In the U.S. it was larglely 1176s, LA2As, LA4s, LA3s, dBx 165s, dBx 160s, gain Brains and DynaMites by the '70s.
Studio had 'em all in different numbers.
You saw a few SpectraSonics here and there, but they were not highly regarded.

Previous to that it was UA 175s and 176s and other models but even the Fairchilds were relatively rare.

Yeah... you compressed stuff on the way to tape and during mix down.
What-ever was required.
I still track the same way no matter what the medium.
The analog world pretty well forced you to use a certain process or discipline.
It worked and it is the foundation that much of today's music tries to emulate.

[Waltz Mastering]

Seriously..... +1 on the Distressor EL8 with mods (very versatile).

A good place to start..... and cheaper than the Altec and Fairchild.

Cheers

[deeper]

Originally Posted by rowan wood

Are there Two Compressors to Cover all My Compression Needs?

No. If you were a painter, would you be satisfied painting with two colors?

Originally Posted by rowan wood

I'd like to be able to settle on TWO compressor models that will give me range of compression to cover all my needs.

Why don't you just buy a Trakker, which covers a wide range of compression sounds. That will train your tastebuds (sonically speaking) so you'll be able to hear different compression styles. To go along with the Trakker, buy a cheap cheap ART Pro-VLA, which is an opto compressor and probably the best bang for the buck in compressors.

Originally Posted by rowan wood

Is there a such thing as colored, clean, and transparent, when it comes to compression?

Oh yes, there are many flavors. You need to train your ear to hear the difference between an FET compressor and an OPTO compressor. The Trakker is an FET compressor, like the 1176, and the Trakker does a pretty nice imitation of the 1176, although without the 1176's graininess. The Trakker also does pretty nice emulations of VCA and opto compressors. But the Pro-VLA is a real opto, and you will appreciate having that option.

[floydisbest]

Distressor EL8 w/ british mode would do you nicely. This can "emulate" the 1176 among other classic comps.

check the manual:
Distressor Manual 1

the API 2500 is the most versatile stereo compressor available-- awesome for all needs eg. drum buss, stereo buss, you name it buss...

[Mike Brylinski]

i have all of the above and they all sound good.....get what you can afford and learn it better than the guy that built the thing.....

[vernier]

Are there Two Compressors to Cover all My Compression Needs?

Of what's available today, LA2A and 1176.
'

[basho]

There are two "magical" compressors out there that you can buy:

1) Altec RS124
2) Fairchild 660

If you pick those up, you'll be good to go... and everything you record through them will sound like gold.

Given that they are both as rare as hen's teeth and that the Fairchild is about 30 grand a pop, it doesn't seem the most cost effective solution to reducing dynamic range in a recording.

Originally Posted by deeper

No. If you were a painter, would you be satisfied painting with two colors?

I wish people would stop using such a flawed analogy to describe making records. Using one preamp and one compressor on a recording doesn't mean it will turn out in "monochrome". You don't need 24 different shades of line amplification to turn out a texturally interesting recording by any stretch of the imagination.

[Audio Hombre]

Originally Posted by deeper

Why don't you just buy a Trakker, which covers a wide range of compression sounds.

thats what i suggested.given his quest for varying tones of compression, the trakker is somewhat automatic.

Originally Posted by Waltz Mastering

There are two "magical" compressors out there that you can buy:

1) Altec RS124
2) Fairchild 660

If you pick those up, you'll be good to go... and everything you record through them will sound like gold.

Good luck. TW

lol. this has to be tongue in cheek, right? just needed a winky emoticon. if you were serious, this is an absolutely ludicrous response

Originally Posted by basho

Given that they are both as rare as hen's teeth and that the Fairchild is about 30 grand a pop, it doesn't seem the most cost effective solution to reducing dynamic range in a recording.

whooops a daisy. this cat beat me to it. it's rediculous.

Originally Posted by basho

I wish people would stop using such a flawed analogy to describe making records. Using one preamp and one compressor on a recording doesn't mean it will turn out in "monochrome". You don't need 24 different shades of line amplification to turn out a texturally interesting recording by any stretch of the imagination.

i wish more people would realize this,too. now there's nothing wrong with having different preamps around for the sake of variety. when i hit a buffet table, i sure don't just eat one item, but if there's just prime rib and potatoes, i won't complain. the "textures" are from the instruments themselves, not the electronics, so i'm 100% with mr. basho here

i'd also concern myself more with a variety of mics than a variety of preamps and compressors if i had to choose.

[rowan wood]

Thank you all for making my holiday season sunny and bright.
BTW, I am an oil painter. And I often use a very simple pallet. Part of my approach to painting is to minimize unnecessary options in order to master others of higher import. So I probably agree with what some of you have said regarding adding texture to sound--I like the idea of adding color with preamps, mics and other instruments.
~
I would say that what light and sound have in common is they are difficult to describe with words--so they are less-linguistic than other things.
~
I will look into the various models that have been recommended; I think with this list I have a good chance at arriving at The Two.
~
It is funny that Waltz recommended rare $30,000 compressors. I had no idea they were that expensive until their cheeky price was observed to me on this thread.

[Waltz Mastering]

I was being "cheeky" my apologies....

[u b k]

the answer is an unqualified 'yes'.

my own slant: api 2500 and 2 x trakkers. they are unalike and between the two flavors there's nothing you can't get done

a pair of trakkers ain't cheap, though; distressors are equally as flexible, but have a bite to the tone.

also, fwiw i really enjoyed the response that caught you some flack; your tone was light and i agree with the sentiment. it is astonishing how little gear is actually needed to turn out badass recordings. chops are, and always will be, the crux of it.


gregoire
del
ubk
.

[Silver Sonya]

Distressor + Pendulum ES8 for stereo stuff. Can't go wrong.

- c