Analog Master BUS Compressor

[pete]

what do you recommend?

I have a Alan Smart C2, Urei 1178, Drawmer 1960, Studer Comp/Limiter...

not really happy with any of them - used to mix trough C2 but it makes my mixes sound smaller than without - what about the tubetech stuff? API 2500?

[Doc Mixwell]

For buss work, the Dramastic Obsidian is probably the deepest, widest G Clone out there. The API 2500 is bad ass for many styles of music and you can use the thing eight ways to Sunday for anything.

I would also recommend the Chandler TG-1 for buss work, but you have to really love the color it provides.

Also check out the Roll Music 755, its a really useful tool for buss compression when you don't want to hear the gain reduction circuit working.

[jamroom]

The crane song stc8 is my go to.I am fooling around a little with the chameleon one.Interesting sounds but still seeing what its good for.

[TonyBelmont]

Not too long ago, I stopped using the SSL compressors on the 2 buss and started using the Aurora GTC2... Talk about a huge difference. The GTC2 is bigger and rounder and has a more pleasing tone. I can't say enough good things about it. But, I obviously also sell it and had a hand in the development process.

The problem I've always had with the SSL compressors, was that it always resulted in a low end loss. I would compensate for it during the mixing process (hence the need to mix through it from the start). The whole sidechain thing helps, but obviously effects the low end in a different way, which is not always what I want.

Occasionally, I'll use both the SSL and Aurora in series and get cool results.

[tobymusic]

Personally I believe it´s not just the compressor, but the way you actually hit it that makes a 2-buss application good or bad.

I love the C2, I´m using a Compex very often on the 2-buss, GR about 2-3dB max. I also like the new UA 2-LA-2 on the 2-buss, however it might be a bit too noisy for your taste.

If you think you´re loosing bottom end, try the Vintage Design C1/CL1mkII - a very nice take on the Neve design, including a flexible high pass filter for the sidechain.
If I had to choose one, the Vintage Design would be my favorite.

For me, a hard knee compressor seems to work best - 3:1 (i´m mixing acoustic music a lot, with real drums and real players), though - I didn´t have much luck with a VariMu comp or other soft knee comps on the 2-bus.

Toby

[kittonian]

Take a look at the DBX 160SL. Amazing on 2-bus duties. Sure, I sell it but I also happen to own two of them and use both on every mix I do.

[robot gigante]

Sidechain your C2 so it doesn't suck out the lows.

I know all the dealers would love to sell you a new compressor but what you have should work fine.

[sage691]

Originally Posted by pete

what do you recommend?

I have a Alan Smart C2, Urei 1178, Drawmer 1960, Studer Comp/Limiter...

not really happy with any of them - used to mix trough C2 but it makes my mixes sound smaller than without - what about the tubetech stuff? API 2500?

I've tried all of the ones you mentioned as well and was not in the least impressed. Everybody seems to love the C2 on the 2 bus, but the more you listen to the mixes in your car or on jam boxes you realize that it adds something that you can never take away, and the songs are forever smitten with that "hi fi" sound that makes your ears grow tired on repeat listens.

Though I will likely take some blows for saying this, I think the Red 3 is BY FAR the best 2 bus compressor out there. And why ? Because it is the most transparent of them all if you set it right. It does the job of adding the necessary "glue" to the mix whilst leaving the least amount of it's own sonic artifacts.

You can then take your mixes to a real mastering guru and let HIM make the decisions on which "character" comps to use on particular mixes. And if he gets it wrong, he can always go back to your original mix and try another combo. If I want that C2 vibe to a particular mix, all i have to do is leave enough headroom and let a real professional with 20+ years of experience mastering that style of music do his magic.

And yes, the Red 3 has gone up alot in price. I wonder why ? Maybe people are starting to catch on to what a 2 bus compressor is supposed to do.

[TonyBelmont]

Originally Posted by sage691

You can then take your mixes to a real mastering guru and let HIM make the decisions on which "character" comps to use on particular mixes. And if he gets it wrong, he can always go back to your original mix and try another combo.

I would NEVER want to leave a decision like that in the hands of a mastering engineer.

These are the mixing engineers decisions to make as part of the mixing process and should not be left for someone else.

[pete]

Originally Posted by robot gigante

Sidechain your C2 so it doesn't suck out the lows.

I know all the dealers would love to sell you a new compressor but what you have should work fine.

cutoff all the bass and go into sidechain with that?

[wikaman]

Originally Posted by robot gigante

Sidechain your C2 so it doesn't suck out the lows.

I use it this way and it work wonders on the 2 bus (depending on the track)!! I usualy also eq after compression for any loss or hyped freq.

Mike

[sage691]

Originally Posted by TonyBelmont

I would NEVER want to leave a decision like that in the hands of a mastering engineer.

These are the mixing engineers decisions to make as part of the mixing process and should not be left for someone else.

Well then Tony, we disagree to agree. I actually am with you on the philosophy that it should not be up to the mastering engineer to be forced to use excessive EQ to pull out the "hi end" sizzle that FORCES it's signature upon each and every mix of EVERY song -- even the mellower, non-"modern rock" vibe experimental stuff --- when you are forced (due to economic deficiencies) to afford only one 2 bus compressor; and the C2 was one of those compressors that did just that.

So, since I cannot afford to own both the C2 and the Red 3, I prefer the Red 3 because it has "less" of a sound. And there are mastering engineers (very talented ones I have had the pleasure to sit with)) that can take a mix summed thru a Red 3 with decent available headroom and make it sound more like that C2 -- and beyond.

Also, there is the issue today of the inescapable reality (due to domination of Mp3 format and online listening to music) of the Loudness Wars -- which, IMO is a reality here to stay and not going anywhere anytime soon.
So the role of the mastering engineer today i believe is quite significant.

Unless, of course, you can afford to hire Andy Wallace to come to your studio and mix your project for you. Otherwise, attempting to accomplish that ridiculously LOUD final mix with full compression via your own C2 in your home studio i would think rather foolish. Many here are likely doing just that.

When lately I have loaded into PT 2 track mixes of 5 different commercially released major band type tracks, I see one common thread: a fully solid (from top to bottom) square wave of audio. All here on GS are free to vent their vitriol on how sad and tragic it is -- but to me it is just simply a "reality" that one has to deal with, like war or famine, and adapt to accordingly. If people can still hear your musical ideas, who cares how massively squashed and processed it had to be to get it to rawk on an ipod.

I shudder to think of what lengths I would have to go to in my studio with my gear to get a mix that splatted and hot, and still be even listenable at all.

But a good mastering engineer can get that type of squashed to complete death brutal slamming going and still have it sound like music, if you give him the right mix.

[studjo]

I was an absolute C2 kinda guy - but lately I change to the Pendulum Quartet compressor (same as the Pendulum OCL) - I love it - gives me more of a vintage vibe. But mind you I never had a problem with my mixes getting smaller with the C2

Jo