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How many hardware compressors for mixbus?
Old 4 weeks ago
  #31
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Quote:
Originally Posted by proxy View Post
Seemed like the RND was attempting to be a replacement for tape.

MAS feels like a remix of the whole idea of consoles and tape.

That’s Jeff’s whole vibe at Overstayer, and it appeals to me, so I don’t miss the RND.

There’s a fun interview with him on Recording Studio Rockstars Podcast where he talks about how his early influences as a musician lead to his aesthetic for designing products.
oh wow, gotcha, that makes sense regarding RND vs MAS. Thanks for heads up on the interview, he does seem like a fascinating guy.
Old 4 weeks ago
  #32
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Originally Posted by bzone View Post
I believe it is almost material dependent. I have narrowed it down to ; OCL-2, SHMC, Unfairchild and the Highland Dynamics BG1. All great with different functionality.
I guess what I'm wondering is the extent to which 'material dependent' tends to vary within a single album by a single artist (my own situation).

if you want to give the whole album the 'same feel' is it likely you'll keep changing comps like crazy, wouldn't that create too much variation in tones?

Or, if the tracks start off too different, do you tend to use diff comps to get it to a similar place, but by the means the individual track needs to get there?
Old 4 weeks ago
  #33
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Quote:
Originally Posted by fromthepuggle View Post
I guess what I'm wondering is the extent to which 'material dependent' tends to vary within a single album by a single artist (my own situation).

if you want to give the whole album the 'same feel' is it likely you'll keep changing comps like crazy, wouldn't that create too much variation in tones?

Or, if the tracks start off too different, do you tend to use diff comps to get it to a similar place, but by the means the individual track needs to get there?
There is a lot pending in the decision process. If it’s your own material and your producing it, then you have full control. Personally if it’s the same LP I would try to find “the sound” for that particular record. If a song is removed for a sound track, then the studio or director may have a particular sound they are looking for. If a track goes for dance music cut, then all bets are off, use what gives you that sound with the big bass, and the particular timing, which is going to be very compressor oriented. Maybe check with the label or A&R person for their specifics. The more simple is always better it seams, stay with a particular compressor on 2buss, vary for laying the tracts down. But, hey, someone may want something completely different, things have changed so much in the last 20 years. Don’t forget the mastering engineer is going to have their say as well.
Old 4 weeks ago
  #34
SRS
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Usually 1. The SSL Bus Comp.
Old 4 weeks ago
  #35
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My options are: SHMC, Focusrite Blue 230, Manley Vari-Mu or the SSL compressor on my 4k. Rarely, I use the manley and the SSL together.
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