A great compressor?
Kyleseglin
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#31
26th December 2012
Old 26th December 2012
  #31
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Do you use the distressor on vox?
#32
26th December 2012
Old 26th December 2012
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emrr's Avatar
I've used the Distressor on lots of vox, but not in years. It can get you out of a lot of holes that other compressors can't, because of flexibility. That doesn't mean it's the best sounding option, though it sounds good.
#33
26th December 2012
Old 26th December 2012
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Ward Pike's Avatar
Good grief... can we not use the Search Function???

I hit the search button for THREADS only and found 492 results in 0.56 seconds. Surely goodness and mercy, using an existing thread is better than adding yet another thread on this.

There have been 4 new threads added to high end alone in the past few days.
Kyleseglin
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#34
26th December 2012
Old 26th December 2012
  #34
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Quote:
Originally Posted by Ward Pike View Post
Good grief... can we not use the Search Function???

I hit the search button for THREADS only and found 492 results in 0.56 seconds. Surely goodness and mercy, using an existing thread is better than adding yet another thread on this.

There have been 4 new threads added to high end alone in the past few days.
In the time it took you to do that you could have shared your opinion. There's nothing wrong with asking a question that's been asked already. It opens a new line of discussion with the potential for different people to answer and thusly provide different insight. If you don't want to answer me then just don't. Clearly other people besides myself are interested in talking about this because people are responding-- so either add something useful or just don't respond.
Kyleseglin
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#35
26th December 2012
Old 26th December 2012
  #35
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Quote:
Originally Posted by emrr View Post
I've used the Distressor on lots of vox, but not in years. It can get you out of a lot of holes that other compressors can't, because of flexibility. That doesn't mean it's the best sounding option, though it sounds good.
Gotcha. Yeah my primary uses at the moment are vocals and acoustic instruments. I actually like my rnla on bass so I'm not super concerned wit that
#36
26th December 2012
Old 26th December 2012
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skythemusic's Avatar
 

There are 3 choices in your situation that make sense, an 1176, LA3A or a distressor. I would lean towards the distressor as it can mimic the other 2 better than they can mimic the distressor. For several years it was my only decent comp and I simply tracked everything through it and then used it on the lead vocal, snare or bass during mixdown. The other suggestions are fine down the line but you have to start somewhere and I would not want an LA2A to be my only comp. The distressor is the most versatile I can think of.
Kyleseglin
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#37
26th December 2012
Old 26th December 2012
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Originally Posted by skythemusic View Post
There are 3 choices in your situation that make sense, an 1176, LA3A or a distressor. I would lean towards the distressor as it can mimic the other 2 better than they can do it. For several years it was my only decent comp and I simply tracked everything through it and then used it on the lead vocal, snare or bass during mixdown. The other suggestions are fine down the line but you have to start somewhere and I would not want an LA2A to be my only comp. The distressor is the most versatile I can think of.
So many votes for the distressor-- I've played with the others but never a distressor. This might have to be my choice
#38
26th December 2012
Old 26th December 2012
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emrr's Avatar
Quote:
Originally Posted by Kyleseglin View Post
Gotcha. Yeah my primary uses at the moment are vocals and acoustic instruments. I actually like my rnla on bass so I'm not super concerned wit that
One opinion only; after years of using it on acoustic guitar, I have come to dislike the Distressor on acoustic guitar. I hear it imparting a zingy treble attack that I dislike, and don't want. You may love it, others clearly do. I have found it to drag the acoustic out of the total sonic picture by highlighting it, rather than allowing it to blend as convincingly with the other instruments. I suppose if you recorded every source through a Distressor, you'd have a consistent sonic picture.

That same zing is great on drums, bass, vocals at times. Where I used to use a Distressor in opto mode for vocals, I seldom used it after getting a Langevin ELOP. I seldom use the ELOP for vocal tracking after getting an FCS. They are all good and totally usable units; it's not like I'm getting rid of any of them, and I doubt you would either. The control action of the Distressor is fine in all regards, for me the occasional gripe is about the sonic sheen. I may use the Distressor, ELOP, or various tube limiters at mix for a bit more control, but I've come to trust the FCS as the most infallible and overall best sounding path for initial control on the way in. It lets me worry less when facing the average no-budget undisciplined singer with limited technical ability, especially when I have no experience with their dynamic range, but need something to control wild peaks.
#39
26th December 2012
Old 26th December 2012
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littlesicily's Avatar
Quote:
Originally Posted by emrr View Post
One opinion only; after years of using it on acoustic guitar, I have come to dislike the Distressor on acoustic guitar. I hear it imparting a zingy treble attack that I dislike, and don't want. You may love it, others clearly do. I have found it to drag the acoustic out of the total sonic picture by highlighting it, rather than allowing it to blend as convincingly with the other instruments.
yup, same experience here.

Quote:
Originally Posted by emrr View Post
I suppose if you recorded every source through a Distressor, you'd have a consistent sonic picture.
Which, IMO, isn't necessarily a great zing, uh... I mean thing.
Kyleseglin
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#40
26th December 2012
Old 26th December 2012
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Quote:
Originally Posted by emrr View Post
One opinion only; after years of using it on acoustic guitar, I have come to dislike the Distressor on acoustic guitar. I hear it imparting a zingy treble attack that I dislike, and don't want. You may love it, others clearly do. I have found it to drag the acoustic out of the total sonic picture by highlighting it, rather than allowing it to blend as convincingly with the other instruments. I suppose if you recorded every source through a Distressor, you'd have a consistent sonic picture.

That same zing is great on drums, bass, vocals at times. Where I used to use a Distressor in opto mode for vocals, I seldom used it after getting a Langevin ELOP. I seldom use the ELOP for vocal tracking after getting an FCS. They are all good and totally usable units; it's not like I'm getting rid of any of them, and I doubt you would either. The control action of the Distressor is fine in all regards, for me the occasional gripe is about the sonic sheen. I may use the Distressor, ELOP, or various tube limiters at mix for a bit more control, but I've come to trust the FCS as the most infallible and overall best sounding path for initial control on the way in. It lets me worry less when facing the average no-budget undisciplined singer with limited technical ability, especially when I have no experience with their dynamic range, but need something to control wild peaks.
Gotcha. So given all that-- your number one vote for vocals and acoustic guitar? I have my own personal use in mind ads priority for this purchase as well as clients. But I know my main sources-- my girlfriends voice and my acoustic guitar.
#41
26th December 2012
Old 26th December 2012
  #41
Another +1 for distressor, can be colored when you want it, and would be excellent for a winehouse style vocal
#42
26th December 2012
Old 26th December 2012
  #42
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Joekkel's Avatar
 

Jlm la500! Awsome unit! Check his jlm mac opto in a 19" rack, if youre not into 500 series. Basically a la2a without tubes...
#43
26th December 2012
Old 26th December 2012
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cheu78's Avatar
Quote:
Originally Posted by littlesicily View Post
If you want versatility, it's gonna be hard to beat the Crane Song Trakker.
+1 on this one.. The trakker is really a great tool!

It's of course a matter of tastes, but you should take a look also to the other ones mentioned.. The GTC2 is indeed a great compressor too, definitely needs to be listened..
LA3A is another great piece as it is the 1176.. you should also check the BAE 10DC (which is quite grabby, in a good way though).

Try to get some of these shipped at your place for testing them out, so that your ears will be the judge (you might want to keep all of these probably ).



Cheu
Kyleseglin
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#44
26th December 2012
Old 26th December 2012
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Quote:
Originally Posted by cheu78 View Post
+1 on this one.. The trakker is really a great tool!

It's of course a matter of tastes, but you should take a look also to the other ones mentioned.. The GTC2 is indeed a great compressor too, definitely needs to be listened..
LA3A is another great piece as it is the 1176.. you should also check the BAE 10DC (which is quite grabby, in a good way though).

Try to get some of these shipped at your place for testing them out, so that your ears will be the judge (you might want to keep all of these probably ).



Cheu
I do like what the gtc2 has to offer
#45
26th December 2012
Old 26th December 2012
  #45
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Another vote for the Distressor. It can be anywhere from decently colored to decently clean. Sounds great slammed to kidding. This is the compressor I have my students learn compression techniques on. It does everything well and really imprints the affect of attack-release-ratio-thresh in your mind. It's a legend!
#46
26th December 2012
Old 26th December 2012
  #46
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*kidding = kissing
Kyleseglin
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#47
27th December 2012
Old 27th December 2012
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Originally Posted by tyrobins View Post
Another vote for the Distressor. It can be anywhere from decently colored to decently clean. Sounds great slammed to kidding. This is the compressor I have my students learn compression techniques on. It does everything well and really imprints the affect of attack-release-ratio-thresh in your mind. It's a legend!
I'm liking everything I hear about it for the most part
#48
27th December 2012
Old 27th December 2012
  #48
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I record lots of vocals and guitars, do plenty of mixing too. I have three solid suggestions of compressors worth checking out. They are all current products, sound great, and are reliable. Here they are, in no particular order:

Buzz SOC 1:1
A Designs Nail
Retro Doublewide

I own all three and love what they do. Nothing against Distressors, LA2a/LA3a's, or 1176's; all are great. It just seems that your thread caught the attention of those who prefer the classics and I thought I would offer some other ideas.

Happy shopping!
#49
27th December 2012
Old 27th December 2012
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skythemusic's Avatar
 

Really these are all good suggestions. I would love to get an Aurora comp to go with my Aurora pre and I definitely have the Foote on my list. To me the distressor is a very good comp to learn compression on. I love the opto mode which helped me understanding what to expect from some of the standards once I started getting those (I have an 1176, modded BL40's, etc.)
#50
27th December 2012
Old 27th December 2012
  #50
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Tube Tech CL-1B
Kyleseglin
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#51
27th December 2012
Old 27th December 2012
  #51
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Anyone have opinions about el8 vs el8x?
#52
27th December 2012
Old 27th December 2012
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emrr's Avatar
Quote:
Originally Posted by Kyleseglin View Post
Gotcha. So given all that-- your number one vote for vocals and acoustic guitar?
If I could only keep one of what I have for both of those jobs, it'd be the FCS P4 DMS, which seems to be a special order item. I've been using it for vocals very happily on all occasions, acoustic I tend to use a pretty obscure RCA tube compressor most of the time. The FCS would usually be 2nd in line for that job, when I wanted something very true to the source that added little to nothing beyond the presence and body that comes with it's gain control.

The FCS Pico 502 would cover all the settings I would tend to use for acoustic or vocal on the P4 DMS, and sound very good too, like the P3S mastering compressor in tone.

The tube comp adds a lot of color, and is fairly special purpose, designerly in application.
Kyleseglin
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#53
27th December 2012
Old 27th December 2012
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Originally Posted by emrr View Post
If I could only keep one of what I have for both of those jobs, it'd be the FCS P4 DMS, which seems to be a special order item. I've been using it for vocals very happily on all occasions, acoustic I tend to use a pretty obscure RCA tube compressor most of the time. The FCS would usually be 2nd in line for that job, when I wanted something very true to the source that added little to nothing beyond the presence and body that comes with it's gain control.

The FCS Pico 502 would cover all the settings I would tend to use for acoustic or vocal on the P4 DMS, and sound very good too, like the P3S mastering compressor in tone.

The tube comp adds a lot of color, and is fairly special purpose, designerly in application.
Hm I don't have a 500 series set up
Kyleseglin
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#54
27th December 2012
Old 27th December 2012
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I suppose the next question I might add to this is... Best combination of affordability and performance? Bang for the buck? Distressor seems to be the least pricey for the reviews it gets. I don't need it to be a stereo comp.
#55
27th December 2012
Old 27th December 2012
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emrr's Avatar
Ah, meant to add that the 502 was the cheapest path into an FCS. Pair with an API lunchbox would set you back $1075, and you'd have open slots you could fill later. Slippery slope, I know. If you're not worried about stereo, and want a one channel device to start, it's hard to argue against a Distressor.
#56
27th December 2012
Old 27th December 2012
  #56
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Quote:
Originally Posted by Kyleseglin View Post
Anyone have opinions about el8 vs el8x?
Its the same exact compressor, but with two additional functions

The "British Mode"
And Stereo Linkage capability,

Quote:
The concept of British Mode came from an unusual setting on the classic UREI LN1176 limiter. The unit was designed to have only four ratios, each ratio being engaged by selecting one of four buttons. However, as early as 1980 (or before), renegade recording engineers, always on the lookout for something a little more “over-the-top”, found that you could make all four buttons stay in if you pressed them just right. What resulted was a very aggressive sound that had some elements of the unit’s 20:1 ratio, but with an unusual knee and new envelope shape. Somewhere along the line, someone called it “British Mode”, and the name stuck.

The EL8-X has the advantage of being able to selectively apply this aggressive characteristic - not just to the new “British” ratio (1:1) - to any of the ratios, simply by engaging the dedicated “British Mode" switch.

The original Distressor stereo link function used a summing and phase detection method, which allowed slight stereo image shifting. Although frequently desirable for its phase correction, and its “thickening” on open room mics and other stereo sources, this approach can sometimes be a problem on stereo program material where the producer/engineers want to maintain absolute left/right balance at all times. With the new “Stereo Image Link” option, the EL8-X now has three link options - the original “phase” link, the new Image Link and the combination of the two, phase and image linking - something never before offered on any compressors or limiters.
Kyleseglin
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#57
27th December 2012
Old 27th December 2012
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Originally Posted by emrr View Post
Ah, meant to add that the 502 was the cheapest path into an FCS. Pair with an API lunchbox would set you back $1075, and you'd have open slots you could fill later. Slippery slope, I know. If you're not worried about stereo, and want a one channel device to start, it's hard to argue against a Distressor.
You mean an api lunchbox AND the 502 for $1075
Kyleseglin
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#58
27th December 2012
Old 27th December 2012
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Quote:
Originally Posted by Doc Mixwell View Post
Its the same exact compressor, but with two additional functions

The "British Mode"
And Stereo Linkage capability,
Awesome thanks. You always have the answer haha
#59
27th December 2012
Old 27th December 2012
  #59
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No problem,
happy to help
FWIW, I would not sweat on the "Brit Mode" so much for your applications,
I would just roll with the EL8, its a great unit,
At least it would be a great one to try out and see if you like it for your music,

happy new year
#60
27th December 2012
Old 27th December 2012
  #60
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Manley VariMu will do it all - great on all sort of tracks (vocals, bass, drums, guitars, pianos) and entire mixes. I have had my Manley for 12 years and it is here to stay until I enter the dirt.
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