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Your Ultimate mix buss compressor Dynamics Processors (HW)
Old 25th August 2016
  #181
SEED78
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Quote:
Originally Posted by GYang View Post
Elysia Alpha into DW Fearn VT7.
Real stuff and no wet dreams anymore.
Like the idea of that, a surgical EQ into a rich sounding lavish compressor. Bet you won't change that combo any time this century - or loose any sleep about what other gear is out there, a huge reason for buying big once then not looking back - you can just get on with work and stop wondering about 'what could have been'.

I've got a Foote P4S/Mammoth Cave Passive Aggressive combo - would like to try a Hendy Michelangelo EQ in front of that, thats whats keeping me awake right now...
Old 19th September 2016
  #182
Gear Addict
Quote:
Originally Posted by 127Riot View Post
Thanks for the reply, I ordered the Smart C2, I also ordered the HPF 150Hz side chain cables with the Smart C2, I plan to mainly use it as a mixbus comp but like the idea of being able to have dual mono to track with and treat tracks individually.

I'm thinking about ordering an obsidian to hear it next to the C2 as I have 30 days to return either but not sure if I will. When I Barrowed my friends C2 I did some ruff test mixes and I really like the polished sheen it added to the mix. I have a handful of comps that cover my other needs. I am mainly looking for a mixbuss comp. I can't say I'm going for the SSL thing, I'm really just going for a lightly added glue, Polish, sheen with clearity. I only had the C2 here for a week but felt like it fit the bill. I know there's a lot of options out there and that's Great! I just want to get what I need, learn it, get to work, and stick with it.

Here are the comps I own

Allen Smart C2- Stereo. "Just purchased"
Api 2500- Stereo
FATSO- Stereo
Distressor- Pair
Chandler Germ comps- Pair
Inward Connections Brute 2- Stereo
Dbx 160 VU- Pair
Dbx 160 XT- Pair
Gates Sta Level- Mono
Collins 26-U- Mono


I have used the api 2500, Germ Comps and Brute 2 on the mix buss and they worked.

Anyone use the overstayer on mixbuss with or without an additional comp? The reason I ask, when searching for a Mixbuss comp I came across the overstayer company. Looks like they just came out with 2 battleship grey, Comps and the feature set was Really great,they had built in selectable HPF's, wet/dry and some type of distortion option. They are 1-U rack spaces and look great. I don't know the exact model. I am not familiar with the company. I'm going to read up on them.
How did you find the Germs on the mixbus?
Old 23rd September 2016
  #183
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Quote:
Originally Posted by ollieneedham View Post
How did you find the Germs on the mixbus?
They worked great, very thick sounding added weight.
Old 25th March 2017
  #184
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Quote:
Originally Posted by super teaboy87 View Post
Great topic of conversation.

My favourite mix compressors that I use at the moment are a Connor 1107 made by CML Audio. I can bet no one has mentioned these before :-). They are fantastic compressors
The 1107 is reviewed in the March/April 2017 edition of Resolution.
Old 26th March 2017
  #185
Gear Maniac
The UnFairchild has really been impressing me and is more universal than I expected. I've had the ssl, API, Manley, smart, 33609, etc. so far from what I've heard it's this and the shmc.

Last edited by worksinframes; 26th March 2017 at 04:24 AM.. Reason: Add information
Old 26th March 2017
  #186
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Man, I'd be torn between SHMC and the Fairchild 670. The SSL is the only one I have experience with at this point, but man, that SHMC sounds like it can do some seriously beautiful shaping and control.
Old 26th March 2017
  #187
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Quote:
Originally Posted by dakun View Post
Man, I'd be torn between SHMC and the Fairchild 670. The SSL is the only one I have experience with at this point, but man, that SHMC sounds like it can do some seriously beautiful shaping and control.
I have both. I think it's what sound you are trying to shape or the clarity you are trying to achieve. VCA, Opto, Varimu. I still have an OCL 2 that I like. I will not let go of either of them.
Old 26th March 2017
  #188
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Quote:
Originally Posted by TheLastByte View Post
Glad you're enjoying the Smart C2, when I first got mine, oh boy did I Slam it, and I'm talking 12-16 dB of compression, I was stunned to hear it deliver, and indeed it does, though it's a tool like any other, adding a Neve V51 Equalizer into my chain, then Buzz SOC 2.0 and taking the C1/LA or C2 after woods has been a revelation. Sometimes I really wonder the point of adding 2-3 dB of compression? To me it's either a case of inserting the comp, & Mixing "Into It" or leaving it totally Off. For the life of me I can't understand adding a Comp like an SSL type after mixing except to add "Client Loudness" prior to Mastering etc.

The search for Compression, Colour, and Smoothing (Vox Especially) drove me into Buzz Audio, the Buzz SOC 20 driven as hard as possible seems to give those near API, Neve and SSL Uncoloured results perfectly with that Euphonic taste and transformer amount that's simply "Perfect". C1LA500 or C2 and some Eq just works brilliantly (actually I'm now a huge fan of Langevin Eq's) sometimes to much choice can...be a bad thing. Then again I'm Hybrid and with a Console so ITB or Out its always a certain vibe Tracks require.

On "Vocals Alone" oh man, I've gone through so many compressors to find on that simply lets near any Singer or V/O Artist just go straight through with no problems, the Buzz SOC 20 is that unit. The never ending quest met, I've sat their looking at that unit thinking "My goodness" their must be 20 things it can do perfectly, and I've tried around 8-9 and surprised myself. I just wish I could afford 2-4 Buzz SOC 20 units as having them shave 4-6dB of certain signals really do make for "Ready to Mix Tracks".

The Two units that escaped me:
1. The API 2500 and man, I just did not have enough time with it, two weeks is seriously not enough time, 2 months possibly, though you need to work to get it sounding great, from the filtering to Feed back/forward modes. This was indeed a silly mistake, and I learnt a great lesson here - Sound needs Work! It's not a magic box until you tune it up properly and set the unit for the programme material. Certainly the unit that I still am missing, and again and again I see threads where people have been disappointed by not immediately getting that "Drum Buss or Guitar Buss heaven".

Really so many describe the unit as offering so much. From interactions with it this is true, though it's a unit to learn the curves, compression ratios, and timing intervals. Not really a case of an instant dial in 1176 nor either a case of make damn sure you RTFM, though certainly a case of leave your plastic on the bench awaiting your final results as it can take some time to master this unit! Two weeks was no where near enough time to get the nuanced unit sounding stellar!

2. The ADR FX760 reissue this always felt different (IMHO) to the Original units, even down to the circuitry and PCB boards all on one main and a secondary. Others might like to chime in here, though Comp/Lim/Gate/Para Eq etc, it felt as though it required a 25 minute fine tune and set up prior to every use? The F600 Helios/ADR compressor sounds amazing and I've kept that, though damn it's a riddle of a unit. Putting together every piece and then have everything working harmoniously needs dedicated time, time I don't have.

The final nail in the ADR FX760 was the PCB and servicing issues, I looked at the board thinking why no seperate sections as originally made, to me that equates to easy servicing like the Buzz Audio gear! On the Buzz gear, each PCB is laid out so should something go down it can be swapped out sent off & replaced, had ADR and the new units gone this Route...life would've been so much simpler. The original units had this, so why not the reissue? Cost, assembly? Time in design? I have no idea, though for me a total deal breaker.

I think everyone needs to look not only at the way a unit "Functions" though how its achieved inside the unit, so yes I imagine to those close to distributors or in the USA it's a life easier, then when not, it's huge down time, and the last thing I need is a 3-5 week turnaround replacement for some simple parts that need secret sauce servicing or OEM only servicing.

If The ADR FX760 RS had of been split up into the originals PCB layout, then I would hVe kept it for its multiuse facilities alongside that FET drum buss Smash, I guess the F600 gets you their minus all the other cancels on the cake, though serving has now become a huge part of buying! Well in my case at least!
the original compex are a total mess. thanks god, the re-issue goes a different route. i have serviced a number of compex comps and its not a case of just pulling the "faulty" card ever. you have to take the whole thing apart and put it back together... its really messy and every tech i know hates these. they sound great though not on mixbus for me personallygh thou. i still like the neve 33609 a lot. sometimes my phoenix does well too. i hardly ever use the ssl. that said i do not use any of them for compression really. its more a tone thing when mixing hyprid. when i mix on the desk i have no comp on there at all.
Old 26th March 2017
  #189
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Quote:
Originally Posted by bzone View Post
I have both. I think it's what sound you are trying to shape or the clarity you are trying to achieve. VCA, Opto, Varimu. I still have an OCL 2 that I like. I will not let go of either of them.
You have a fairchild 670 AND a SHMC? What I would do to be in your shoes...had a dream the other night I found both of those comps at a garage sale for like $50. Then I woke up :(

How do you feel about them? Which do you use more? Ever try them together in a chain?
Old 26th March 2017
  #190
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Quote:
Originally Posted by dakun View Post
You have a fairchild 670 AND a SHMC? What I would do to be in your shoes...had a dream the other night I found both of those comps at a garage sale for like $50. Then I woke up :(

How do you feel about them? Which do you use more? Ever try them together in a chain?
I had two original 670's that I let go about 13 years ago. I now have the Unfairchild 670 and the SHMC. It depends what your trying to do and the music type. I fooled around with the chain Thing a couple times. I like them specifically for what they each can do.

Last edited by bzone; 27th March 2017 at 01:57 PM..
Old 26th March 2017
  #191
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Quote:
Originally Posted by bzone View Post
I had two original 670's that I let go about 13 years ago. I now have the Unfairchild 670 and the SHMC. It depends what your trying to do and the music type. I fooled around with the chain Thing a couple times. I like them specifically for what they each can do. But one of my favorite Vocal chains is a 47 or 251 through a Putec and a 670.
Jesus what a dream

Is this your personal rack? Its literally a dream of mine to have that gear at home. I don't think I'd leave my studio ever again besides to hang out with my missus on the couch if I had those things to play with. Can't believe you sold the 670s! All that looks amazing brother Any tips for getting up to the point of being able to afford all that?
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