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How are we Mixing Today?
Old 5th July 2005
  #31
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GearHunter's Avatar
 

The Fatso, is, I dunno, it's a cool idea but when you actually use it, it's all presets. There is an SSL-type preset in there, I think. I think I'd rather have a stereo-linked Distressor, at least you have plenty of parameter control.

I REALLY like that new dbx 162SL, the one that's under $2K. You can do a lot with it, and on mix bus, you can totally dail-in the SSL smack.

I mean, what IS an SSL G compressor anyway? I always though it WAS pretty much a dbx 162. Correct me if I'm worng, but I think SSL essentially knocked off the dbx VCA design, and of course the SSL used the dbx 202 VCA chip as it's active ingredient up until about 1999.

Right?
Old 5th July 2005
  #32
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jpupo74's Avatar
Quote:
Originally Posted by GearHunter
The Fatso, is, I dunno, it's a cool idea but when you actually use it, it's all presets. There is an SSL-type preset in there, I think. I think I'd rather have a stereo-linked Distressor, at least you have plenty of parameter control.

I REALLY like that new dbx 162SL, the one that's under $2K. You can do a lot with it, and on mix bus, you can totally dail-in the SSL smack.

I mean, what IS an SSL G compressor anyway? I always though it WAS pretty much a dbx 162. Correct me if I'm worng, but I think SSL essentially knocked off the dbx VCA design, and of course the SSL used the dbx 202 VCA chip as it's active ingredient up until about 1999.

Right?
That´s what I have heard. At the same time, people here disagree in terms of DBX sounding like SSL, but I think the vast amount is not comparing it with the new purple model but with the old blue model.

I´ve still noy heard the new ones!

PUPO
Old 5th July 2005
  #33
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I don't think the SSL quad compressor and the dbx 162 have very much in common, performance-wise.

Chris Garges
Charlotte, NC
Old 5th July 2005
  #34
I mostly produce and mix pop and club stuff with sampled drums, so I don't compress a whole lot on individual drum sounds, maybe 2-3 dB max. Almost always EQ before comp.

I like the snare really high.

Then I sum the drums on a buss and comp again (sometimes) with 1-2 dB max. Sometimes the bass goes on the drums buss too, but usually not.

Sometimes I might instead sidechain an additional comp on the bass to the kick, forcing the bass to duck slightly on kicks, causing the kick and bass to melt, and also saving a dB or too of headroom in the process.

I always tune the predelay of reverbs to time with the release of the percussive instruments, this helps clarity and also saves a bit of headroom.

If possible I prefer using various constellations of filtered delays instead of reverb, as reverb tend to be more messy and uncontrollable. For a longer fizzle of the crash cymbal I might not use any reverb but instead an upwards filtered relatively fast delay.

On long lush vocal or synth theme delays I always use sidechaining on the delay buss by sidechaining a comp inserted on the delay effect buss to the vocal or synth theme. This helps pushing down the delay on top of the actual vocal and seemingly pulling it magically up on the endings of words. Works way better than automating individual words or syllabels, etc. I use a super fast attack and medium ratios, and adjust threshold and release according to material.

I use a fair amount of automation but usually macro automation on most parts (guitars up/down in verse/chorus etc). However on vocals I usually have a huge amount of micro volume adjustments for two reasons: 1) I hate de-essers so I'd rather manually ride the fader on esses, and 2) to avoid over-compression.

I might use a Gyraf Gyratec X or a modified SSL Type 4000 comp on the mix buss, but usually I don't.

Hope that helps a bit.

And no way does dbx sound anything even close to SSL.
Old 5th July 2005
  #35
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Quote:
Originally Posted by cgarges
I don't think the SSL quad compressor and the dbx 162 have very much in common, performance-wise.

Chris Garges
Charlotte, NC
Which dbx 162 do you mean? I am not referring to the original one, only in the sense that I think the SSL guys might have been going for a stereo dbx 160-type, or 165 type when they designed the quad. At that time dbx was an industry standard and using a VCA was much more practical for the desk than an opto or some other type. The quad always reminded me of the dbx-vca-type sound. That audible pop-and-duck, pop-and-duck.

What I mean is the new 162SL. Have you heard that one or compared it to the SSL? And which version of the SSL? The G384 outboard pre '99, or the one on the 4000G console? Just curious.

Here's my observation: If you set the new 162SL to the auto attack-release mode (in stereo link, of course) and just ticke the threshold so the red light blinks on kick and snare, maybe nudging the needle down a db, and then you push just a sea-hair more...it gives me the same result I look for with a G384 on the 3rd attack setting (1.) and auto release. It has the same knee, I think.

Considering it's way cheaper than even a used G384, it's close enough! The difference isn't worth $700 or more.

However, there is one compressor that sounds even MORE like the SSL. That's the one in the Audient console or in the SUMO. heh
Old 5th July 2005
  #36
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I meant the one in the 4000 and the original 162. I haven't heard the new ones and keep forgetting about them because I found the new 160 stereo things (the blue ones) to be really disappointing. I can see how the 165 and the SSL sort of kind of behave in the same way, but I don't think either one is all that similar to an original 160/161/162 and I don't think the 165 and the SSL sound the same. That's just me, though.

I've been really curious about those Audient consoles since they came out.

Chris Garges
Charlotte, NC
Old 6th July 2005
  #37
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jpupo74's Avatar
I think it was Fletcher the one talking about the new DBX´s sounding like SSL´s.
Maybe he can join us and give us his 2 cents!

PUPO
Old 6th July 2005
  #38
No stereo buss compression here. No buss EQ either. I will throw a comp once in a while on the monitor path just to hear what will happen down the mastering road, but I won't print it.

I do comp some tracks though. Bass guitars and kick drums are usually limited. I tend to go with high ratios and threshold settings. Kind of like the carnival game "Wack-a-mole", I pound down the high spots.

I'm an 'ol salt that likes his music with some dynamic excitement.

Modern recordings are sooooooooo boring with the blaring non-dynamic quality.
Then again, I learned this back in the LP record days when available dynamic range was much, much smaller but was fought for every way possible.

Now that we have 90 db dynamic range, now one seems to want to take advantage of it.

I do.

Jim Williams
Audio Upgrades
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