The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
High End Stereo Bus Compression Dynamics Processors (HW)
Old 14th August 2008
  #31
Gear Nut
 
Mixing Louder's Avatar
 

Interesting that no one has mentioned the RED3. I have most of the Comps that are mentioned, and I prefer the RED3 over all of them on the Buss. It just does "Something" that works.

Maybe it's just me and TLA...
Old 14th August 2008
  #32
Lives for gear
 

The C2 brings so much to the mix. Love what it does all way round. After 7 yrs mixing with it, never happy without it.
Old 14th August 2008
  #33
Lives for gear
 
duvalle's Avatar
 

Quote:
Originally Posted by CircusofMind View Post
I also produce beat and bass heavy electronic music.
I mix through an API 2500 and couldn't be happier.
+1


cheers!
Old 14th August 2008
  #34
Lives for gear
 
mdjice's Avatar
 

Do you guys start your mixes with the buss comp on or do you add it later at the end?
I do it at the end. what about u?
Old 14th August 2008
  #35
Gear Guru
 
u b k's Avatar
 

Quote:
Originally Posted by MarkyGoldstein View Post
What is the magic thing for "pumpin house music"?

absolutely nothing pumps like an mpressor.

2500 is lovely too, but it's a more traditional squeeze, nntawwt.


gregoire
del
ubk
.
Old 14th August 2008
  #36
Lives for gear
 
duvalle's Avatar
 

Quote:
Originally Posted by mdjice View Post
Do you guys start your mixes with the buss comp on or do you add it later at the end?
I do it at the end. what about u?
i mix into the comp ...
Old 14th August 2008
  #37
Lives for gear
 
tazman's Avatar
 

MDX2600??? Just joking!!! But has anyone actually tried it?
Old 14th August 2008
  #38
Gear Addict
 
CircusofMind's Avatar
 

Quote:
Originally Posted by mdjice View Post
Do you guys start your mixes with the buss comp on or do you add it later at the end?
I do it at the end. what about u?
After I get the track started with the basic elements, I set up the 2500.
I will then mix through the compressor the entire time.

At some point I might adjust the settings slightly, but I get it dialed in pretty close to where it stays early in the mix.
Old 14th August 2008
  #39
Lives for gear
 
mdjice's Avatar
 

interesting
Old 14th August 2008
  #40
Lives for gear
 

Quote:
Originally Posted by justinmichael View Post
Gearslutz,

I am looking for a stereo bus compressor that will only be used on the stereo bus for the final bounce of the mix.

The music that I primarily mix and produce is dance music, however I have been recording some acoustic, singer songwriter stuff and been mixing down some other projects as well.

is there any suggestions to what kind of compressor I can add to my chain?

Thanks!
For dance and electronica the SPL Kultube is great. Can also fair pretty well on other stuff .
Old 15th August 2008
  #41
Lives for gear
 
edvdr76's Avatar
Quote:
Originally Posted by Mixing Louder View Post
Interesting that no one has mentioned the RED3. I have most of the Comps that are mentioned, and I prefer the RED3 over all of them on the Buss. It just does "Something" that works.

Maybe it's just me and TLA...
You know I have this unit too and it also does a GREAT job on buss compression.
Old 15th August 2008
  #42
member no 666
 
Fletcher's Avatar
Quote:
Originally Posted by edvdr76 View Post
Quote:
Originally Posted by kellyd View Post
Smart C2.
+1 for this onethumbsup
What's really gonna be cool is when the Dramastic "Obsidian" has been on the market for 10 or so years like the Smart Research unit those that are giving the thumbsup thing for the C-2 will be doing it for the Obsidian...

I love this place!!
Old 15th August 2008
  #43
Lives for gear
 
gainreduction's Avatar
 

Am I the only one with nothing on the 2-buss ?
Old 15th August 2008
  #44
Lives for gear
 
nomatic's Avatar
Dramatic!

The Dramastic rules.......

Much nicer than the smart.(no stereo field shrinkage and the transformers and makeup gain sound fricking great. Also the lofi setting is quite useful for the mistreatment of certain sources.

Nomatic

HIDEOUT STUDIOS :: AUSTIN.TX
Old 15th August 2008
  #45
Lives for gear
 

Quote:
What's really gonna be cool is when the Dramastic "Obsidian" has been on the market for 10 or so years like the Smart Research unit those that are giving the thing for the C-2 will be doing it for the Obsidian...

I love this place!!
__________________
Possibly, I haven't heard it but there have been many G.S favorite pieces that I could really give a **** about. I base my opinions on hearing them not reading about them.
The C2 pulls it off and that's why it gets my thumbsup.



A far as mixing, I've always got the C2 on the mix buss and mix thru it from the start.
Old 15th August 2008
  #46
Lives for gear
 
Strobian's Avatar
I use the 2500. Its a high quality piece, there are times when I want it to be able to chew at the material a little more than it does, but otherwise, I'm not sure there is a compressor with more tone options and variations. IMO. I do electronic music, and the 2500 to my ears makes the images bigger and slightly wider. You don't need sidechain cables to make it work well either. Would like to have a C2 or dramastic one day as well.

I switch it on when I start mixing, I can finish a mix in 1/2 the time with it.
Old 15th August 2008
  #47
Lives for gear
 
whitepapagold's Avatar
 

Quote:
Originally Posted by Fletcher View Post
What's really gonna be cool is when the Dramastic "Obsidian" has been on the market for 10 or so years like the Smart Research unit those that are giving the thumbsup thing for the C-2 will be doing it for the Obsidian...

I love this place!!
You and the Obsidian are starting to sound a lot like Tony and the GTQ2....
Old 15th August 2008
  #48
Lives for gear
 
tobymusic's Avatar
 

Quote:
Originally Posted by Fletcher View Post
What's really gonna be cool is when the Dramastic "Obsidian" has been on the market for 10 or so years like the Smart Research unit those that are giving the thumbsup thing for the C-2 will be doing it for the Obsidian...

I love this place!!
That might be true - only WHEN it's been on the market for 10 years. People want to spend their money wisely. (i mean on gear that keeps its value)

I would love to try it, once it's made its way to Europe.
Toby
Old 15th August 2008
  #49
Lives for gear
 
mdjice's Avatar
 

anybody using the G comp (SSL)?
Old 15th August 2008
  #50
member no 666
 
Fletcher's Avatar
Quote:
Originally Posted by whitepapagold View Post
You and the Obsidian are starting to sound a lot like Tony and the GTQ2....
Guess I have an Obsidian obsession... every now and again a piece of gear lands on my door that I think will become a classic. 10-12 years ago it was the Empirical Labs EL-8 "distressor"... 7 or 8 years ago it was the Royer Labs R-121... then there was the Great River MP-2NV [OK... I was way biased on that as it was made for my taste], some where else in there was stuff from FMR Audio... my company was the 3rd Manley dealer on the planet [1st on the East Coast of the US]... and the list goes on and on.

At the moment my world has been lit up and changed by the Obsidian, the Burgin McDaniel "Komit" and the NPNG pre-amp all of which are in constant use in my room on the music on which I'm working.

I am in a unique position to get to try a LOT of stuff before anyone else gets a chance to give it a go... when I fall in love with it I tend to talk about it.

The difference being that A) I don't work in "sales" at M-A [I work in the back checking out gear, making recordings, writing stuff for the website and being a general pain in the arse to the guys that do the actual work around M-A]... and B) these things aren't one of like 5 or 6 lines of cool stuff we have on our roster... these are products that I feel compliment stuff that exists on the roster, is absolutely unique in what it does to the audio and could be a useful tool to the end user [while there isn't a ton of blather about it on the internet... YET].

So... sorry if I'm being annoying about this stuff... but it's product in which I truly believe and have a level of excitement which tends to get me to talk about the stuff.

Peace.
Old 15th August 2008
  #51
Lives for gear
 
whitepapagold's Avatar
 

Its not like I haven't gone to the Mercenary site and checked it out... Having just purchased a 33609JD, Im still in the market for punch...

The one concern with something like the obsidian is resale, to be honest. Its reputation needs to be maintained long enough for it not to lose a chunk of value at purchase.

That grey zone between new gear hype and gear with enough positive history to maintain value. Its still in the new gear hype stage regardless of whether its deserved or not. BUT, when the time comes- I will check it out cause youve gone broken record on this one! And really you don't tend to do that... Usually its the "get whats right for you" sun came up this morning stuff.

But seriously, resale is HUGE to me. I spend every penny on gear but definitely make decisions on both function and resale. Ive never sold something I didn't make money on.... The new 33609JD will be the first since I bought it new and its instantly worth under 4 grand used. Oh that and of course Protools mix and HD- thats a money pisser...
Old 15th August 2008
  #52
member no 666
 
Fletcher's Avatar
Apologies if I appear obtuse... but if it's good gear, and you plan on using it everyday... why worry about "resale"? I don't know about your
accountant but my accountant has me depreciating the assets of my studio on a yearly basis over 5 years... and while you can sell it at the end of that 5 yr. period [in theory you're supposed to throw it out... yeah, right] if you do sell it you have to report the sale of that income as 100% profit... which kinda means there's bloody little reason to sell good kit unless you're broke or go out of business [in which case everything will have pretty ****ty resale value].

Again... apologies if I appear obtuse... I just don't understand the concept of buying something because of it's "resale value" [... and who knows... the way parts prices have been going through the roof due to the whole petroleum price insanity the thing could rise in price to the point that if you do sell it a few years down the road you could get ALL of your money back... even for the 33609JD].
Old 15th August 2008
  #53
Lives for gear
 
airmate's Avatar
 

Two more comps that haven't been mentioned yet:

- Pendulum Audio OCL-2
- Vertigo Sound VSC-2

I'm using one of those two, depending on the song and the sound that I'm going for in a given situation.
To my ears both sound stellar, but of course there would be many other options.
Old 15th August 2008
  #54
Lives for gear
 
OurDarkness's Avatar
 

Quote:
Originally Posted by airmate View Post
Two more comps that haven't been mentioned yet:

- Pendulum Audio OCL-2
- Vertigo Sound VSC-2

I'm using one of those two, depending on the song and the sound that I'm going for in a given situation.
To my ears both sound stellar, but of course there would be many other options.
Can you please tell whether the Vertigo VSC-2 is on the clean or on the transparent side? What music/instruments do you use it on?
Old 15th August 2008
  #55
Lives for gear
 
whitepapagold's Avatar
 

Quote:
Originally Posted by Fletcher View Post
Apologies if I appear obtuse... but if it's good gear, and you plan on using it everyday... why worry about "resale"? I don't know about your
accountant but my accountant has me depreciating the assets of my studio on a yearly basis over 5 years... and while you can sell it at the end of that 5 yr. period [in theory you're supposed to throw it out... yeah, right] if you do sell it you have to report the sale of that income as 100% profit... which kinda means there's bloody little reason to sell good kit unless you're broke or go out of business [in which case everything will have pretty ****ty resale value].

Again... apologies if I appear obtuse... I just don't understand the concept of buying something because of it's "resale value" [... and who knows... the way parts prices have been going through the roof due to the whole petroleum price insanity the thing could rise in price to the point that if you do sell it a few years down the road you could get ALL of your money back... even for the 33609JD].

Because I consider gear an investment. I only sell something if I need something else to work better/faster. But Im talking about the future, and if you lived my life you would understand you never know when youll need some cash...

I used to manage 2 large estates and from a money management perspective, anything you spend should be an investment or worst case scenario, maintain its value.

With recording gear you can EASILY purchase things that will not only maintain value but go up in value, AND work well too. I am not of the buy what you want and make money working ONLY mentality... And I have acquired a lot of gear that has doubled in value and works GREAT. I got a lot of vintage gear before it went nutty.

Its peace of mind and sound financially. But if you don't worry about maintained value, thats your deal. Ive just handled a lot of money in my day and learned a long time ago to value every penny. And to me its no different from 20 million to 1 thousand- and trust me, thats served me very well.

There are compressors that sonically are equal or better to the dramastic that will maintain or increase in value.

But I guess you buy a house because you want to live in it- regardless of the property values going up or down. Personally, I consider anything over a grand an investment. And why not get the best of both worlds...

I bet you really don't apply that philosophy to property yet you do with gear- but its the exact same thing. A house is a tool too... Need plus value plus resale....

But yeah, pennies fall from heaven so why worry! I'd hate to be your money manager...
Old 15th August 2008
  #56
AB3
Lives for gear
 

I will say this about Fletcher - when he really likes a piece of gear, everytime I have tried it, it has been great. Sometimes he does not like some gear, that I do like. BUT I cannot recall anytime he has praised something highly, and it was not great FWIW.

I know he is connected with sales like others on this board. But there are a lot of choices of all types of gear to sell. And if you are not honest about what you brag about, it will catch up with you.

So many of these dealers that plug on this board are usually correct, unless you are finding blogs from a lot of people talking about how awful it is. And that is just not happening, because most, if not all of these dealers are not that stupid and they are dealing with people that test this gear out.

This world is just too small for these types of high end products.

And I am not connected with any dealer. I buy from several. And fortunately, they have all turned out to be reputable.
Old 15th August 2008
  #57
Gear Guru
 
u b k's Avatar
 

Quote:
Originally Posted by gainreduction View Post
Am I the only one with nothing on the 2-buss ?

nope!


gregoire
del
ubk
.
Old 15th August 2008
  #58
Lives for gear
 
airmate's Avatar
 

Quote:
Originally Posted by OurDarkness View Post
Can you please tell whether the Vertigo VSC-2 is on the clean or on the transparent side? What music/instruments do you use it on?
the vertigo has a very broad range from opto-like transparency and smoothness to pretty grabby vca compression. it all depends on the settings and the amount of compression. when used in the "soft" mode and only with a slight touch of gain reduction the vertigo is super smooth and almost "invisible", yet it holds the transients in a very pleasing way. with higher ratios and especially when driven harder it definitely has some powerful attitude. the more make-up gain you use, the more harmonics are being added to the sound.

i wouldn't hesitate to use the vertigo on almost anything, but most of the time it will sit on the 2-buss (this is the very application i purchased it for, as a sonic variation to the pendulum).

as a mixing engineer i'm working with pretty broad range of genres. this year i've had tango, british punk rock, electroclash, 70ties-like groove jazz, gothic hard rock and probably a few more things already...
that being said, my own productions are more soul/jazz orientated.

with both the pendulum (for the "softer" stuff) and the vertigo i can cover about everything. one of those two will *always* work.
Old 16th August 2008
  #59
Tried the Dramastic Obsidian today.

One thing that suprised me about it is how transparent it is, even at the extreme settings. For some reason i was expecting a tone monster. Its cleaner than the C2 but not as transparent as the Vertigo. The Lofi and skull cross bone setting can see alot of action for mangling loops. While its strength is how it retains the sound even when spanked hard, its actually what i didn't like about it. It didn't really inspire me sonically to want to keep using it like the original compressor does in the SSL console. Actually none of the SSL clones do either. There is just something that works about the mixbuss comp in the console. Maybe its the fact that its in the console and you setup your mix around it. Who knows?

Bottomn line: If you want the glue of an SSL mixbuss comp without the sonic artifacts this is a good contender. The skull and cross bone setting is a bonus.

But if you want that "mojo" that the SSL mixbuss comp imparts to the mix than i would look elsewhere. If you haven't guessed i passed on it. Just didn't do it for me, but for people with a different sonic pallete than mine i could see it as a good option.
Old 16th August 2008
  #60
Lives for gear
 
whitepapagold's Avatar
 

Quote:
Originally Posted by thethrillfactor View Post
Tried the Dramastic Obsidian today.

One thing that suprised me about it is how transparent it is, even at the extreme settings. For some reason i was expecting a tone monster. Its cleaner than the C2 but not as transparent as the Vertigo. The Lofi and skull cross bone setting can see alot of action for mangling loops. While its strength is how it retains the sound even when spanked hard, its actually what i didn't like about it. It didn't really inspire me sonically to want to keep using it like the original compressor does in the SSL console. Actually none of the SSL clones do either. There is just something that works about the mixbuss comp in the console. Maybe its the fact that its in the console and you setup your mix around it. Who knows?

Bottomn line: If you want the glue of an SSL mixbuss comp without the sonic artifacts this is a good contender. The skull and cross bone setting is a bonus.

But if you want that "mojo" that the SSL mixbuss comp imparts to the mix than i would look elsewhere. If you haven't guessed i passed on it. Just didn't do it for me, but for people with a different sonic pallete than mine i could see it as a good option.
Youve also said that even the original units don't do it for you out of the console. Is that still true for you? Is there anything that gives you that magic emotionally ssl comp style as far as outboard? And not necessarily the exact same, but glue and punch satisfaction?
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Similar Threads
Thread
Thread Starter / Forum
Replies
ed97643 / So much gear, so little time
9
sixtoo / High end
19
drewrevolution / So much gear, so little time
5
dabhoys / High end
9

Forum Jump
Forum Jump