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Better on toms: API 225L, 525, 527 or DBX ...? Dynamics Processors (HW)
Old 9th July 2017
  #1
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jackalope77's Avatar
 

Better on toms: API 225L, 525, 527 or DBX ...?

I'm really going for API or DBX compressors for toms. Think classic rock.
Old 10th July 2017
  #2
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1176
Old 10th July 2017
  #3
Gear Addict
 

Valley Gain Brain II's and Kepex Gates
Old 10th July 2017
  #4
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Quote:
Originally Posted by rowmat View Post
Valley Gain Brain II's and Kepex Gates
Wouldn't that give me toms that have a darker tone, something better suited for Hard rock? Isn't it their audio footprint? Maybe I'm mistaken. Darker isn't what I'm going for.
Old 10th July 2017
  #5
i do love my 525, but i've not tried it on toms. if you send audio and some guidelines i can try to put it through my 525 & 527 for reference.
Old 11th July 2017
  #6
Gear Nut
 

Recently discovered the Valley Dyna-mite limiter on toms. I love that thing and often have it on a parallel drum bus, never had the chance to use it exclusively on toms before. Good lord. A little goes a long way toward that explosive 70's rock sound.
Old 11th July 2017
  #7
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Quote:
Originally Posted by themiracle View Post
i do love my 525, but i've not tried it on toms. if you send audio and some guidelines i can try to put it through my 525 & 527 for reference.
Great! I'll come up with some audio files, probably today. Thanks!
Old 12th July 2017
  #8
I've always favored a snappy VCA thing for toms. DBX 165s are cool, so are Distressors. Obviously the SSL channel comp works well too! I've also had good luck with our 33609, but it's fast and can be a bit tweaky & unpredictable IMO so I don't track toms through it. If i'm using it on toms, it's during the mix.
Old 13th July 2017
  #9
well, I'm very inexperienced, so I may have made some questionable choices, but I ran @ jackalope77 's tom tracks through a few different comps.

files can be found here:
https://drive.google.com/drive/folde...00?usp=sharing

I summed the two tracks to a mono bus with the comps inserted.
I tried to label each file to reflect the settings used in each case.

This is the key to the filenames I used
525: I:Input O:Output R:Release Comp/Lim/Off/Bypass (modes) C:Ceiling
527 O:Output T:Threshold A:Attack Rel: Release

eg:
525 - i3 08 r0.1 Comp C8.m4a
means:
api 525
input around 3 (the third dot from the most anti-clockwise position)
output around 8 (2 dots past about "12 noon")
Release 0.1
Mode: Comp 2:1
Ceiling: 8

most potentiometers for these api units have 11 dots distributed around them to aid in recall.
The numeric values in my file names correspond to the relevant dot position, starting from 1 going clockwise up to 11
(I should have started from 0, but there are too many files to rename at this point).

Note that the Ceiling dial on the 525 does not follow this convention for indicating it's value, instead using the labeled numbers corresponding to each of it's switched positions. The same is true for the Ratio dial on the 527.

I also threw in a couple of quick takes with my RS124 for fun and science.

Let me know if anything is not clear.
Old 13th July 2017
  #10
Gear Addict
 

Quote:
Originally Posted by telepathy View Post
Recently discovered the Valley Dyna-mite limiter on toms. I love that thing and often have it on a parallel drum bus, never had the chance to use it exclusively on toms before. Good lord. A little goes a long way toward that explosive 70's rock sound.
Valley Gain Brains and especially Dynamites are touchy critters that can take a while to get your head around. The first time I used a Dynamite it was like using a sledgehammer to swat a flea. As you say a little goes a long way and a lot can be insane but in a good way when used for parallel compression or crushing room mics. I found I had to spend more time finding the sweet spot with the Valley stuff but once you find it the light bulb finally goes "bing".... "I know that sound!"
Old 13th July 2017
  #11
33609 / ssl
Old 15th July 2017
  #12
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jackalope77's Avatar
 

Quote:
Originally Posted by themiracle View Post
well, I'm very inexperienced, so I may have made some questionable choices, but I ran @ jackalope77 's tom tracks through a few different comps.

files can be found here:
https://drive.google.com/drive/folde...00?usp=sharing

I summed the two tracks to a mono bus with the comps inserted.
I tried to label each file to reflect the settings used in each case.

This is the key to the filenames I used
525: I:Input O:Output R:Release Comp/Lim/Off/Bypass (modes) C:Ceiling
527 O:Output T:Threshold A:Attack Rel: Release

eg:
525 - i3 08 r0.1 Comp C8.m4a
means:
api 525
input around 3 (the third dot from the most anti-clockwise position)
output around 8 (2 dots past about "12 noon")
Release 0.1
Mode: Comp 2:1
Ceiling: 8

most potentiometers for these api units have 11 dots distributed around them to aid in recall.
The numeric values in my file names correspond to the relevant dot position, starting from 1 going clockwise up to 11
(I should have started from 0, but there are too many files to rename at this point).

Note that the Ceiling dial on the 525 does not follow this convention for indicating it's value, instead using the labeled numbers corresponding to each of it's switched positions. The same is true for the Ratio dial on the 527.

I also threw in a couple of quick takes with my RS124 for fun and science.

Let me know if anything is not clear.
Very interesting shootout, and again, thank you for that.

I kinda like the 525, not the 527. The 527 seems to suck the life out of the track (it's also been reported here on GS, and from my limited audio experience with it, I'll have to agree). The 525 was fine, but I don't think I like it enough to spend $1300 for it, I could get a DBX 160SL for that price.

The RS124 is nice, maybe too nice and not rock enough for me (though it's an amazing compressor).

It could be nice if others could contribute to this shootout. I'm personally interested in the API 225l, Tonelux TX5C and the DBXs.
Old 15th July 2017
  #13
I don't think I've ever put a compressor on toms before...
Old 16th July 2017
  #14
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Quote:
Originally Posted by clearwave View Post
I don't think I've ever put a compressor on toms before...
Many don't, I know. I like at least some compression or parallel compression on everything, ... even piano.
Old 20th July 2017
  #15
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Classic rock, 1176s all over the mix would be nice.
I like API so I have 560s and 527s on my tom buss with a slight slap effect from a SPX90.
I also have the Valley Dynamite on a separate buss which is fun, similar to how a 1176 can be but different.
Also, lol, I have a pair of PWM501 Great River comps that alway impress me no matter what they are on, currently kick (double head no hole) and bass gtr at mix.
Would love to have a bunch of 1176s they just seem to work on anything, so many choices, so little time.
Every drummer is going to give different results, I'm a drummer and play a very balanced kit, hitting drums hard and cymbals correctly and consistently, not smashing.
side note, I have my Retro DW on snare, there are no rules in my book, ymmv

Mike
Old 20th July 2017
  #16
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Old 20th July 2017
  #17
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Quote:
Originally Posted by Swansonic View Post
Classic rock, 1176s all over the mix would be nice.
I like API so I have 560s and 527s on my tom buss with a slight slap effect from a SPX90.
I also have the Valley Dynamite on a separate buss which is fun, similar to how a 1176 can be but different.
Also, lol, I have a pair of PWM501 Great River comps that alway impress me no matter what they are on, currently kick (double head no hole) and bass gtr at mix.

Mike
I really have overlooked the Great River compressor. I'm not going for their EQs but the compressor might be a winner for me.

I'm also wondering if the 1176 wouldn't add too much weight to the toms, or maybe not, if it's not pushed too hard? For my taste, I think toms should simply sound really 'round'.

I'm adding a few files provided by 'themiracle'. The 225l, 1176, TX5C, DBX 165A, PWM-501 are all compressors I would also like to hear on this.
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