Mix buss comp

[mac black]

Ok, im sure you all been there many times before but i'd love some more views.
im testing the cranesong STC-8, didn't like the summit and i use a modified phoenix(thermionic culture) as a mix bus comp usually (being repaired). I love the way the phoenix sound on drums but as a mix buss comp I think I can do a little better...
I like punch and warmth and I also like texture (im all digital so I like a comp to add something).
Is the STC-8 got what it takes? Or is there any other beauty out there (I'll be checking the Allan smart C2 next week).

I produce/mix dance/rock/pop kind of records and love punchy mixes (don't we all... )

Thanks

Mac

P.S. the STC-8 is 4years old one owner from the states and the asking price is £2000 +vat ($3000+vat?)

[jazzius II]

Wicked compressor.....the most versatile comp i've tried by a fecking mile....can be made super smooth or very agressive...control over the knee is amazing......try pushing your drums up into it (the threshold)...so they bounce the mix......mad!






......one thing...it is super clean......it's not rock n roll....also, it's not the best for spanking....but it can do some pretty wild things when you engage the limiter....

[thethrillfactor]

Originally posted by mac black
Ok, im sure you all been there many times before but i'd love some more views.

I like punch and warmth and I also like texture (im all digital so I like a comp to add something).

I produce/mix dance/rock/pop kind of records and love punchy mixes (don't we all... )

Thanks

Mac

My view is that mix buss compression is overated.grudge

Its a crutch along with the old summing issue for people's bad mixes these days.

Its not a panacea like people think.

If you want punch and warmth and texture, work harder on the individual tracks in the mix. Running the whole thing thru a comp might make the mixes worse.

The STC-8 is a cool comp. I think Jazzius said it best, its a clean unit. If you want an agressive/warm sound, try either a Alan Smart C2 or the old Neve 33609.

[jazzius II]

Yeah, it really is super-duper-super clean.....it almost has no sound of its own (the electric gubbins).....its basically a magic volume knob......that's why i'll be looking into the Pendulum/Manley in the near future....

[dave-G]

Originally posted by thethrillfactor
My view is that mix buss compression is overated.grudge

Its a crutch along with the old summing issue for people's bad mixes these days.

Its not a panacea like people think.

You've got company in this way of thinking.

-dave

[Brad Blackwood]

Originally posted by dave-G
You've got company in this way of thinking.

-dave

Ditto.

[mac black]

What i ment is a mix comp that DOESNT soften your mixes rather then a wow magic "its mixed" kind of attitude.(you cant polish a turd..but you can turd on a polish )
I have found the Manley colourless (i like colour!) and i believe that for digital recordings you need a unique sounding compressor(you know just for that extra 2%).
but the C2 sounds tempting.

[obostic]

I had both the STC-8 and C2. I still have the C2 because of it's really nice in your face SSL'ish sound. The STC-8 is a very nice clean compressor, but to really understand this puppy, prepare to spend some romantic time with her you'll need it. Personally, I perferred the STC-8 in mastering applications versus mixing because of it's transparency.

[faeflora]

Originally posted by mac black
What i ment is a mix comp that DOESNT soften your mixes rather then a wow magic "its mixed" kind of attitude.(you cant polish a turd..but you can turd on a polish )
I have found the Manley colourless (i like colour!) and i believe that for digital recordings you need a unique sounding compressor(you know just for that extra 2%).
but the C2 sounds tempting.

Ok to use the new cliche, you're all "in the box" right? That's your problem.

Soft synths have no life. Neither do most plugs. They all sound fake. They all sound like some nerdy programmer clicked away on their keyboard for a couple hours puking out some cheesy algorythms. You're fucc I mean abandon all hope. In my opinion most all of this vintage emulation plugin crap sounds nothing like the real thing. A couple of posters have said that you need to get it sounding right in the mix, before smooshing your mix into humiliation with a bus compressor and I agree with them. But as I mentioned before, abandon all ye hope of achieving your desired punchy delectable analog sound. Eh I'm being a dick. Sorry. Seriously. I'm also being hypocritical as I'm about to pick up a comp to use for bus compression (as well as plenty o other stuff). Why would I use it? Because for some mixes I want the whole song to pump and surge and breathe as a single entity, and not to sound like disparate parts leveled and played back together. I'm not really a big fan of the Roger Nichols engineering style. I definetly do NOT need it for warmth or color though. As I said before, if you need color when you're done mixing then you fuuc i mean abandon all ye hope because you screweded up. You can fool people with decent plugs used well. A good friend of mine who's an excellent engineer and dance producer said something absolutely idiotic to me the other day- he said "I don't mess with such and such plugs because they don't look good" and he meant look with the asthetic meaning. That would be a bad approach to audio engineering.

BTW right now I use Trakkers for 2 bus and I can get them to be hyperactive but it's sometimes hard. They are useful though for making the mix a few db transparently louder. I can often do a few passes of db reduction with them actually without much mix fuggeration. I've also used the RNC for mix and it can be more fun than the trakkers. It's more smashy and on the right material it can be cool. My incoming "mix comp" is a Telefunken U73b pair refurbed by TAB Funkenwerk. You might want to save your $3000 USD and an additional $1000 USD for his coming U73 remake. It'll have a varicom available for it too and will surely be mega frukkenkickassenwerk. I spoke with Oliver for an hour today and he's like, the bestiest and is a hardcore german electrical engineer meaning he's a perfectionist, extra intelligent, practical, and honest.

What a disjointed manic post this has been. Sorry again for being nasty and have fun, and don't worry about it too much because I'm sure your mixes already rock!

FF

[bloodstone]

I agree it's over rated if you or your client is ultimately going to pay for mastering (or master it yourself), but in my world (low budget unsigned artists doing a self-release) most clients want me to deliver a "finished product" ready to manufacture. In cases like this, I think it's useful.

My only experience is with an Avalon 747sp and a Drawmer 1969. The Avalon is useful, but at times can be a little slow. Also, serious tweaking of input, attack, ratio, threshold & release can be necessary to avoid "pumping". The EQ is a plus. I've gotten away from using it on the buss. It sounds great on stereo drum overheads. Also, stereo acoustic guitars or keys.

The 1969 is very versatile in tracking and mixing for the rock work I've done. I prefer it to the Avalon on the mix buss in most cases. I've had some successful experiements using both of the above in tandem.

I don't have any experience with the other units being mentioned, sorry.

[mac black]

Originally posted by faeflora
Ok to use the new cliche, you're all "in the box" right? That's your problem.

Soft synths have no life. Neither do most plugs. They all sound fake. They all sound like some nerdy programmer clicked away on their keyboard for a couple hours puking out some cheesy algorythms. You're fucc I mean abandon all hope. In my opinion most all of this vintage emulation plugin crap sounds nothing like the real thing. A couple of posters have said that you need to get it sounding right in the mix, before smooshing your mix into humiliation with a bus compressor and I agree with them. But as I mentioned before, abandon all ye hope of achieving your desired punchy delectable analog sound. Eh I'm being a dick. Sorry. Seriously. I'm also being hypocritical as I'm about to pick up a comp to use for bus compression (as well as plenty o other stuff). Why would I use it? Because for some mixes I want the whole song to pump and surge and breathe as a single entity, and not to sound like disparate parts leveled and played back together. I'm not really a big fan of the Roger Nichols engineering style. I definetly do NOT need it for warmth or color though. As I said before, if you need color when you're done mixing then you fuuc i mean abandon all ye hope because you screweded up. You can fool people with decent plugs used well. A good friend of mine who's an excellent engineer and dance producer said something absolutely idiotic to me the other day- he said "I don't mess with such and such plugs because they don't look good" and he meant look with the asthetic meaning. That would be a bad approach to audio engineering.

BTW right now I use Trakkers for 2 bus and I can get them to be hyperactive but it's sometimes hard. They are useful though for making the mix a few db transparently louder. I can often do a few passes of db reduction with them actually without much mix fuggeration. I've also used the RNC for mix and it can be more fun than the trakkers. It's more smashy and on the right material it can be cool. My incoming "mix comp" is a Telefunken U73b pair refurbed by TAB Funkenwerk. You might want to save your $3000 USD and an additional $1000 USD for his coming U73 remake. It'll have a varicom available for it too and will surely be mega frukkenkickassenwerk. I spoke with Oliver for an hour today and he's like, the bestiest and is a hardcore german electrical engineer meaning he's a perfectionist, extra intelligent, practical, and honest.

What a disjointed manic post this has been. Sorry again for being nasty and have fun, and don't worry about it too much because I'm sure your mixes already rock!

FF

Man, this is some crazy poo...are you on a comedown or just coming up?
It's all good
U73? Is that a U-boat?
I remember those days of "this plug looks wicked"(1997-2001) LOL.
Just a little note, before I was doing all in house I used to mix for other clients in many different studios (from strongroom to Jacobs and many more) but I sort of given up after a few of my friends signed bedroom records for 5 or 6 figures while I spend hours and days getting it perfect and some idiot a&r scratches his head and doesn't appreciate it (and most record buyers as a matter of fact) and I (or the artists I worked with) barley cover the studio cost.
Times have changed, I signed huge deals since I'm "bedrooming"it and almost every a&r goes crazy for my sound, production and vibe in general while I still maintain that the records I've done in bigger studios sound better and are generally better my life now are a lot more satisfying (income wise not necessarily music wise) and I am saving to buy a nice class A studio for my self. I might have sold a part of my soul to the devil but hey...we all will at one point.
Hope I don't sound like too much of a ****** (a man got 2 do what a man got 2 do) I've become a bit more realistic (and cold )
Anyhow, I have a main room right next to my studio (SSL and the lot) and when I want I use it I do (its not mine...yet)

Now back to a mix buss, you said that the C2 is cool, do you use it on mixes?

Cheers

Mac