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High End Stereo Bus Compression Dynamics Processors (HW)
Old 18th August 2008
  #91
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GearHunter's Avatar
 

Quote:
Avalon 2044. I preferred it in listening tests to the Chandler TG1 and 33609J. More transparent, fantastic control, great high end and image-- and the way it reacts to the lows is smooth and musical. I bought for tracking, but its been great on the buss as well. And I'm not a huge Avalon fan either- I got rid of my 737 a long long time ago. But that comp is here to stay.
Wow. I had one of those in '99, 2000 and as much as I liked it for tracking, I could not dial that sucker in on mix-buss. Couldn't get the attack release right, ever. You're right that it has a really beautifil discrete class-A sound, and I liked it on tracking, especially vocals, but never mix.

Ended up getting rid of the 2044 for a C2 at the time.
Old 18th August 2008
  #92
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iangomes's Avatar
Quote:
Originally Posted by tcause View Post
3 gushy choices for me
- STC-8
- thermionic culture pheonix
- elysia alpha

All rediculously good in their own way
you disgust me
Old 18th August 2008
  #93
theother
Guest
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.

We have an Obsidian and original SSL compressor (built into desk).

I agree with most of Thrill's findings. Although I welcomed the better lo-end with the Obsidian, made possible by the locut in the side-chain, it lacked the SSL mojo I'm so used to. I couldn't get over it.
I kept it because I thought it would be useful for some clients who are not hard-core vintage-SSL sound fans like I am and like the Obsidian for what it is. I don't think I would use it on my own projects though... There was something missing....
Old 19th August 2008
  #94
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IntenseJim's Avatar
 

Quote:
Originally Posted by tcause View Post
- elysia alpha

All rediculously good in their own way
The 'octopus undersides'?

Old 16th October 2008
  #95
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The TF Pro P38 appears to have evolved into the P38EX. Sidechain added.

http://www.tfpro.com/index.php/page/P38-EX

ns
Attached Thumbnails
High End Stereo Bus Compression-p38ex-front-mod.jpg  
Old 16th October 2008
  #96
Viking
 
Bruce Swedien's Avatar
 

justinmichael....Stereo bus compression??

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!


Stereo bus compression??? Are you crazy????

Bruce Swedien
Old 16th October 2008
  #97
Gear Maniac
 

Quote:
Originally Posted by Bruce Swedien View Post
Stereo bus compression??? Are you crazy????

Bruce Swedien
+2 thumbsup
Old 16th October 2008
  #98
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stevetgn's Avatar
I have a P38 and I find it a strange beast. Sometimes its wonderful and sometimes its complete bollocks. Its very touchy too, you really have to set the attack and especially the release correct. A fraction of a degree one way or the other and it's all wrong. Get it right though and it can work well. I find it works best set for very aggressive compression and used in parallel on the drum buss.
Old 16th October 2008
  #99
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Quote:
Originally Posted by BorrelNote View Post
+2 thumbsup
Maybe + 3

My mastering engineer requests no mix buss comp or EQ and I trust him. He can't undo what I have done; he can always add.
Old 16th October 2008
  #100
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Quote:
My mastering engineer requests no mix buss comp or EQ and I trust him. He can't undo what I have done; he can always add.
If that works for your projs cool.
Unless I'm mixing to 1/2" I always use some master buss compression. If I don't and leave it to the ME the mix is far from what it was. Being able to control the mix and add some glue has allowed my ME to do his thing and the mixes remain intact. Sounds like your ME has dealt with too many clients ruining the master before he gets his hands on it. At that point he's right. He can't undo it.
Also depends on the quality of your gear. Putting an inferior compressor or eq on the buss will do more harm than good. Going over the top with a heavy hand causes it's own harm.
Old 17th October 2008
  #101
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IntenseJim's Avatar
 

Quote:
Originally Posted by kellyd View Post
If that works for your projs cool.
Unless I'm mixing to 1/2" I always use some master buss compression. If I don't and leave it to the ME the mix is far from what it was. Being able to control the mix and add some glue has allowed my ME to do his thing and the mixes remain intact. Sounds like your ME has dealt with too many clients ruining the master before he gets his hands on it. At that point he's right. He can't undo it.
Also depends on the quality of your gear. Putting an inferior compressor or eq on the buss will do more harm than good. Going over the top with a heavy hand causes it's own harm.
You are probably correct on all accounts. He has asked this of me which probably is wise; I do not know if he routinely requests this. And he's a pretty well respected name on the West Coast.

Unlike me. (Rodney Dangerfield jpeg goes here)
Old 17th October 2008
  #102
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Ben F's Avatar
Quote:
Originally Posted by cosmos View Post
Does anyone have opinions on Manley VM for Electronic beats ?
TC Phoenix is a much better option. Sold the vari-mu a month later.

The Phoenix is one of the best I've used for electronic music- very organic, grooves along very nicely. API 2500 is also very good, probably more flexible as a compressor.
Old 17th October 2008
  #103
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malgfunk's Avatar
 

API 2500. IMO the most versitile comp out there.
Old 18th October 2008
  #104
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Wes Kuhnley's Avatar
 

Thus far in our tests, the Great River prototype comp seems incredibly well suited for stereo buss work...true stereo link capabilities, FB/FF control, almost completely artifact-free gain reduction unit...
It imparts subtle sweet coloration, but none of the ugly **** you don't want on the buss.

I'm hoping Dan decides to do a Mastering version...heh
Old 15th November 2013
  #105
Here for the gear
 

Dave Pensado's approach to Stereo Bus Compression

Quote:
Sometimes you'll find that when you add compression, you'll lose a little bit of the low end. I haven't done any experiments but I have a feeling you're not losing low end as much as you're gaining top end.
Old 15th November 2013
  #106
Here for the gear
 

Dave Pensado's approach to Stereo Bus Compression

Quote:
Sometimes you'll find that when you add compression, you'll lose a little bit of the low end. I haven't done any experiments but I have a feeling you're not losing low end as much as you're gaining top end.
Old 15th November 2013
  #107
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dabigfrog's Avatar
 

Focusrite BLUE 230... we had one for a few years then sold it, a few weeks later we were already missing it on the 2bus... after 5 years of searching, we just found another Blue 230... should be here tomorrow! can't wait... great for glue, light kiss...

not sure what we will do for punch, but we got glue covered! the hunt continues!
Old 15th November 2013
  #108
Quote:
Originally Posted by Wes Kuhnley View Post
Thus far in our tests, the Great River prototype comp seems incredibly well suited for stereo buss work...true stereo link capabilities, FB/FF control, almost completely artifact-free gain reduction unit...
It imparts subtle sweet coloration, but none of the ugly **** you don't want on the buss.

I'm hoping Dan decides to do a Mastering version...heh
Old thread, I know....But Wes..I wish the same.

However, recently I did try the PWM-501's linked up on the Stereo Mix Bus, and REALLY liked it.....A LOT
Old 15th November 2013
  #109
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htrisna's Avatar
 

After finally hearing the Obsidian at AES last month, i finally got one, thinking that I can finally move my 2500 to my drum buss parallel. The Obsidian is definitely wide and puncy, but I still miss that 2500 thickness when I took it away from my 2 buss. I guess I'm an API mojo freak as I also have a pair of 312s to make up after Mini Massive after the 2500.

I just can't take the 2500 away. So while the Dramastic is definitely a keeper, it's combination with the 2500 in Old style, needles barely moving or none at all, with a little of makeup gain is my nirvana.

So now, my 2 buss insert chain is: API 2500, Manley Mini Massive, pair of 312 from my A2D in Pad and 2:1 mode, Dramastic Obsidian, then out of the Midas Venice f32 console to my Burl mothership.

Loving it.
Old 15th November 2013
  #110
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barforama's Avatar
I mix through a Zener Limiter (most often in limit mode) and i love it. Crazy cool mix comp IMHO
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