Cheaper Compressors - YOUR Suggestions & discussing benefits Vs. Digital compressors.

[perx]

I have been "playing" with the idea of getting cheaper compressors for the diffirent analog gear I have (for example the machine drum, etc..).

Sticking the compressors into the diffirent channels on the Mackie desk and compressing the audio before they are recorded on the computer.

I have 2 questions to you all..

1: What cheaper compressors would you suggest? Something that doesnt cost that much - but give a good sound on drums, bass, etc..

2: What (if any) do you think are the positive and/or negative issues by using non digital compressors before recording VS. Simply recording them to the computer and then using digital compressor plugins?

I have 3 UAD cards, Liquid mix and what not on the computer - so Its loaded. But I´ve always been an "analog asshole"... So I like doing as much as possible before recording the audio to the computer..

Any feedback is highly appreciated!

Thanks! :-)

[jamroom]

A dbx 160x,xt or A can be found for 225.00 or so,they are great on vocals,bass,acoustic gtr.Not too good on kick though.Th safesound P1 is great for under 600.I hear lots about the RNC but I've never used one.

[joshelevator]

Originally Posted by jamroom

A dbx 160x,xt or A can be found for 225.00 or so,they are great on vocals,bass,acoustic gtr.Not too good on kick though.Th safesound P1 is great for under 600.I hear lots about the RNC but I've never used one.

[KingDaddyO]

Also fairly inexpensive, are MARTI CLA-40H comp/limiters. I think these were primarily sold to the broadcast industry back in the day. The model number suggests that it was a competitor to the Urei BL-40 but I'm just speculating on that. They show up on eBay every so often, anywhere between $150-300. Good on bass, kick, DI, etc. They have a bit of the 70's sonic aura to it and are decent sounding units.

[perx]

thanks for the suggestions so far.. Keep em cumming.. ;-)

And what about the analog Vs. digital issue? Any comments there?

Thanks everyone. :-)

[Brad McGowan]

The only cheap outboard compressor that I've kept in the rack is the dbx 160X. It's practically become my permanent bass compressor for mixing.l If you have any DIY skills and the time and desire, then I would just build something nice for yourself like an 1176. Total parts cost will be like $350-$450.

Brad

[Ozzy]

Originally Posted by Brad McGowan

If you have any DIY skills and the time and desire, then I would just build something nice for yourself like an 1176. Total parts cost will be like $350-$450.

Sounds interesting.
Could you elaborate a bit? Do you have to source the seperate components, or can you get 1176 kits?

Many thanks,
Oz

[HudHudson]

A few others to check out:

Ashly SC-50. Great on electric guitar. Buy the blue-faced version, it has a different op amp than the black face model. $100-200 on ebay.

Urei 7110. Has a peak detector circuit that's cool. Great for smashing drums. About $200.

MXR Micro Limiter. Hard to find but a real character piece.

dbx 118/119/128. These units were made for home stereos but can be useful for drum submixes. They're unbalanced so use short cables. Around $100. Similar vibe to the classic dbx 160 VU and 162.

[thenoiseflower]

Originally Posted by HudHudson

MXR Micro Limiter. Hard to find but a real character piece.

SHHHHHHH, seriously, I'm still looking for a few more

[retractablezing]

Originally Posted by HudHudson

A
dbx 128. These units were made for home stereos but can be useful for drum submixes. They're unbalanced so use short cables. Around $100. Similar vibe to the classic dbx 160 VU and 162.

sorry bout the plug, but i have one for sale right now..

can someone elaborate a bit more on those mxr pieces?

[AmplitudeAudio]

The original issue ART Pro VLA would be a good candidate. Replace the tubes with some NOS Telefunkens. I wish I'de never sold mine!

[KingDaddyO]

Originally Posted by perx

thanks for the suggestions so far.. Keep em cumming.. ;-)

And what about the analog Vs. digital issue? Any comments there?

Thanks everyone. :-)

Personally I prefer analog outboard too, although I have to say there are some amazing converters and software available nowadays. Digital technology really opens up new & exciting ways to work, but I am still in what I would consider experimental mode with digital. Perhaps that is due to me being more comfortable (at this time) with using analog gear, than in applying my analog experience to digital techniques. I do expect that my perspective on this will change over time, as I continue to use a hybrid mix of both technologies and the industry will continue to produce ever higher quality & lower priced products. And of course, there is also the das blinking lights appeal of analog gear.

Anyway, my take on your question -- If you need to mod the dynamic range before capture, I would probably reach for the analog outboard. I guess my thinking here is along the same lines as that regarding my philosophy towards recording: get your input signal up to snuff, as best you can, before resorting to any 'fix it downstream' techniques. Digital comps work great for many I'm sure, but if you can get it right pre-input why not do so? And if you are really persnickety about your signal purity, you can also bypass the console or the box ... and go straight into your recorder for the least distance signal path.

Whatever you use, rely on your ears and you'll do fine. They are the highest-end piece of gear any of us will ever own.

[jeremy.c.]

Originally Posted by retractablezing

sorry bout the plug, but i have one for sale right now..

can someone elaborate a bit more on those mxr pieces?

I have an MXR Dual Limiter, which is some really good (sometimes dirty in a nice way) compression. I wouldn't think you'd find it universally useful and mine is a bit noisey compared to other comps and limiters (but it could just be my unit).
I also own two FMR RNCs and an FMR RNLA. The RNC is super transparent and it seems around here for every two of us that use it and/or love it someone else hates it. I've found the RNC works pretty well for vocals, guitars and some drum applications. The RNLA has been great for bass, but now I use my Distressor more for that, but I'll keep it anyway since it is an interesting and not too expensive piece to hang onto, more people find it's a niche piece and not too many broad applications.
I keep hearing so much about the DBX stuff though, especially the 160s that I may have to pick one of those up someday to check it out.

[Jim Williams]

Good one's on the cheap are used. I like the dbx163X for under $100. For $200 I like the Aphex Expressor 651, Ashley SC-55 stereo, Valley Dynamite, 160XT or even a 160A which is the same except 5532 opamps. The 160X has a slow unbalanced output stage and doesn't have the non-linear timing capacitor circuit like the XT and A which tracks fast waveforms better.

Jim Williams
Audio Upgrades

[mbrebes]

I've always liked the Symetrix 501. The newer grey ones need IC changes, but they are usually pretty transparent.

[perx]

what about the focusrite penta? I see it go pretty cheap on ebay almost weekly.

[echurch86]

how about buying a cheap 8 track and getting a reel of gp-9 to record to first, then transfer to digital. Tape already gives a tiny bit of compression, but keeps dynamic range in tact. Plus, not many people are using tape anymore so you would hae your own sound. Thats why BoC sounds so good

[SoundWeavers]

outboard compressor + limiter are very useful tools for tracking sessions

cheap compressor?

FMR RNC ($175 stereo)

cheap limiter?

FMR RNLA ($225 stereo)

compressor & limiter
Both RNC & RNLA w/ FunkLogic Rack $450

[jarbar]

+1 on the dbx 118! Great for drum room mics. Really pumpy but I've never come across a plug that sounds that analogy.
I work at a studio with 1176s, LA3As, Neve comps, etc, but lately have been doing a home based project on CuBase. I have to say the ART Pro VLA I just got has been great, and I haven't even switched tubes yet. Good for bass, kick, snr, even acoustics. Not in the same league as Neves and Ureis, but definitely has an outboard sound.

[radu.ionescu]

Originally Posted by Ozzy

Sounds interesting.
Could you elaborate a bit? Do you have to source the seperate components, or can you get 1176 kits?

Many thanks,
Oz

check www.gyraf.dk for more information, schematics and bill of materials for the 1176 as well as for other outboard (tube pre, SSL quadcomp...)

[Bob Yordan]

Hiya

Compared to +$3000 comps, extra cheap comps sux, IMHO.

But! They can be fun anyway.

I have got a couple that I use during mixing, as a contrast to clean
and awesome sounding ones.

Joe Meek C2, kind of makes things sound more mushy
in a dull clean way.

Drawmer LX20, it is kind of defect sounding and it has fun expanders.

SPL Charisma, dont know if it's a comp, but it adds some kind of
ugly dist onto the sound.

Valley People Dynamite, sound like some kind of Manley Vari-Mu on
steroids that has been drowned.

Joe Meek SC2.2, clean sounding but it removes a lot of the high
freq end instruments.

Getting almost good comps can perhaps be a waste of money?

Best wishes

[DamnYankee]

Originally Posted by Brad McGowan

...If you have any DIY skills and the time and desire, then I would just build something nice for yourself like an 1176. Total parts cost will be like $350-$450.

Brad

Wow...if one knows someone who could stamp the box/face plate and buy the parts in bulk, they could sell an 1176 duplicate for less than $500 and double their money.

Any interested entrepeneurs?

[guittarzzan]

I have an original ART Pro VLA which, to my ears, sounds great and very smooth even with the stock tubes. I'll never sell it. ...or my Distressors either I doubt there's anything out there better for the money than that VLA unless the new ones are made differently than mine.

[uncle duncan]

Safesound P1 is a mono comp with a (bypassable) pre in front and a limiter at the end of the circuit. It's auto-release, great for vocals and bass. This thing is utterly transparent - making a RNC sound like a piece from Radio Shack in comparison. You can do 10db of compression on vocals and not even hear it working. The pre is great for smoothing out bright mics. You still get detail, but a little less 'essy-ness' than a regular pre.

[daveseviltwin]

dbx 160

[Lander]

Originally Posted by Bob Yordan

Hiya

Compared to +$3000 comps, extra cheap comps sux, IMHO.

But! They can be fun anyway.

I have got a couple that I use during mixing, as a contrast to clean
and awesome sounding ones.

Joe Meek C2, kind of makes things sound more mushy
in a dull clean way.

Drawmer LX20, it is kind of defect sounding and it has fun expanders.

SPL Charisma, dont know if it's a comp, but it adds some kind of
ugly dist onto the sound.

Valley People Dynamite, sound like some kind of Manley Vari-Mu on
steroids that has been drowned.

Joe Meek SC2.2, clean sounding but it removes a lot of the high
freq end instruments.

Getting almost good comps can perhaps be a waste of money?

Best wishes

Bob,

Nerg said you have to finish your veggies before you can post here!