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Mix buss compressor Dynamics Processors (HW)
Old 17th April 2003
  #31
Lives for gear
 
Mad John's Avatar
 

The Manley (stereo) MU w/ T-bar mod is an incredible piece of tube gear.

Those that speak ill of this unit have ither not used it w/ the mod, or they find it intolerable for the type of music program they are running!

The Manley MU is STILL used by an impressive amount of people in the professional recording indusrtry, so for those users that feel insecure about it, have the cofidence that you have one of the better compressors out there - period!

True it has it's own flavour and there is no best, but I stand strong with the statement that the Manley MU is one of finest in quality, build and sound! And I am not saying that because Eve Anna is my sister in law ither!
Old 17th April 2003
  #32
Moderator emeritus
 

Quote:
Originally posted by Brad Blackwood
The older ones are OK, but I think Manley started winding their own transformers a while back - that's about the time I thought they started sounding mushy...
.
Perhaps that may be an issue for those who hear a problem with the Vari-Mu's - mine is 8 or 9 years old.
Old 17th April 2003
  #33
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AudioGaff's Avatar
Quote:
Originally posted by Dave Martin
How do you link the mono units? I'ts not that big a deal for me since I only have one Mono Vari-Mu, but I haven't noticed iny provision for linking two of them.
There is a mini banana jack on the back. Like a lot of comps, the master is the one with the higher settings. I match up all the settings anyway and fine tune with the makeup gain. Works great. I'm about to add a switch to the link cable so that I can unlink them when I want to use them in dual mono.
Old 17th April 2003
  #34
Moderator emeritus
 

Quote:
Originally posted by AudioGaff
There is a mini banana jack on the back. .
Son of a gun! There it is! I never noticed that before, and I've probably re-racked the thing 6 or 8 times in the last few years.

I'm very observant...
Old 18th April 2003
  #35
Gear Nut
 
stuntmixer's Avatar
 

Hey Brad,

Could you give me some quick tips as to how to set up my STC-8 for mix buss comping. I love the versitility of this thing on individual tracks but have only recently moved it to the 2-buss.
So far I haven't figured how to get it working for me. It certainly doen't sound bad in any way, I just feel lost in a sea of cool options (auto-rel, a-mod, hari-kari....ahhhhhhhh!!!)

I understand what the different controls do, just need a good place to start and what to avoid.

Thanks,

Charles
Old 18th April 2003
  #36
Lives for gear
Anybody tried their Kurzweil ksp8 for mastering yet?
I asking cause I'm poor for a while and its the only thing I have in my arsenal.grudge
I don't get around to polishing the turd very often but I'd like to be ready,cheers
daniel
Old 18th April 2003
  #37
Lives for gear
 
Wiggy Neve Slut's Avatar
 

The tip for the MU about the 'Glue' is right IMHO. Although they arent overtly coloured there is a small amount of that valve 'euphonics' happening in there. The reall thing about mastering relative to levels is the L2!!!!!!!!!!! not the mu!

CYA
Wiggy
Old 18th April 2003
  #38
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chap's Avatar
 

2 paths

The Vari Mu with mod is fantastic. It's great for tracking as well.
My new 2 buss path is:
Stems from Trak2 or 8000SEs to Dangerous 2Buss
to Vari Mu to Massive Passive to SLAM! (fet w/center link). I also keep a TC System 6000 inserted for any digital stuff.(Finalizer, multi band and Massenberg EQ's)

My other path is to take my stems to Greg Calbi at Sterling Sound. Even though we use similar gear, he wins hands down.
cheers,
chap
Old 18th April 2003
  #39
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally posted by stuntmixer
Could you give me some quick tips as to how to set up my STC-8 for mix buss comping. I love the versitility of this thing on individual tracks but have only recently moved it to the 2-buss.
So far I haven't figured how to get it working for me. It certainly doen't sound bad in any way, I just feel lost in a sea of cool options (auto-rel, a-mod, hari-kari....ahhhhhhhh!!!)

I understand what the different controls do, just need a good place to start and what to avoid.
Low ratios work. I never go over 4:1, usually 2 or 3:1 is plenty. With regards to attack and release, set it so it doesn't pump, breathe or distort and your good to go. I love the hari-kari switch and it does different things for different people. One guy described it as thickening the low end, in the same position I heard the top snap open. YMMV.

I was saving for my own STC-8 and got sidetracked by a Summit DCL-200 at a price I couldn't pass up. It's not as cool but it dosen't suck either. If I was buying them new and the Summit was full-whack I'd get the STC or maybe a 1969.
Old 18th April 2003
  #40
Lives for gear
 

The KSP8 is not bad at all. The stock presets pretty much stink for bus compression, but if you fiddle with the 3 band comp algo, it gets pretty jiggy without sounding anything like most digital multibands (thankfully).

In fact, it's better than not bad. It's pretty good on the bus, IMO.


Regards,
Brian T
Old 18th April 2003
  #41
Gear Maniac
 

Jules,

I think you have the C2 compressor. What settings do you recommend for the mix buss?

Any one else with some tips?

Additionally, apart from the Crush feature on the C2, how does it differ from the C1. I have heard different people liking the two different models - any comments on this?

Everglass
Old 18th April 2003
  #42
Quote:
Originally posted by everglass
Jules,

I think you have the C2 compressor. What settings do you recommend for the mix buss?

Any one else with some tips?

Additionally, apart from the Crush feature on the C2, how does it differ from the C1. I have heard different people liking the two different models - any comments on this?

Everglass
Jules owns the SSL FXG 384 compressor.

If you want info on the Smart comps check the guest moderator archives under Alan Smart.

My C2 is used most of the time on drums(kicks,snares,loops or drumsub mix).

Its been a while since I used it on the 2 mix.

I like other things just a little bit better.
Old 18th April 2003
  #43
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kosi's Avatar
Quote:
Originally posted by Jay Kahrs
Low ratios work. I never go over 4:1, usually 2 or 3:1 is plenty. With regards to attack and release, set it so it doesn't pump, breathe or distort and your good to go. I love the hari-kari switch and it does different things for different people. One guy described it as thickening the low end, in the same position I heard the top snap open. YMMV.
Hi Jay, unfortunateley, the STC 8 has no dial-a-ratio switch. You use the Shape knob instead, up to the left, there's soft knee and low ratios, up to the right it get's harder and higherheh

For me, a good thing to start are the presets ! And please use the sidechains.
But when you want to have more character, use an API 2500

yours kosi
Old 18th April 2003
  #44
Lives for gear
 
kosi's Avatar
Quote:
Originally posted by Jay Kahrs
Low ratios work. I never go over 4:1, usually 2 or 3:1 is plenty. With regards to attack and release, set it so it doesn't pump, breathe or distort and your good to go. I love the hari-kari switch and it does different things for different people. One guy described it as thickening the low end, in the same position I heard the top snap open. YMMV.
Hi Jay, unfortunateley, the STC 8 has no dial-a-ratio switch. You use the Shape knob instead, up to the left, there's soft knee and low ratios, up to the right it get's harder and higherheh

For me, a good thing to start are the presets ! And please use the sidechains.
But when you want to have more character, use an API 2500

yours kosi
Old 18th April 2003
  #45
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e-cue's Avatar
 

70% of the time the Manley VariMu Mastering compressor, sometimes I can't find one of these to rent. I usually go with the mod, but I'm usually okay with an older stock unit as well.
25% the SSL 9000J compressor
5% the Neve 33609

... or no compression at all

I'm not a fan of the 1969 Drawmer nor the Summit DCL-200 for 2 mix aps. I really dig the DCL on my backgrounds, but not on my 2 mix. The only reason I mention it is to let you know where my ears are coming from. Alot of engineers (the father of the 1969 included) want exactly what those units give them. If I was doing a "U2 /Pretenders/Coldplay/Eurythmics" sound, I wouldn't even glance at the DCL or 1969. I almost never take off more than 3 db off my 2 mix and I print with 1/2' in mind (as well as dats) which I let the loudest peak hit at about 2.5 db.
Old 18th April 2003
  #46
There is only one
 
alphajerk's Avatar
 

Quote:
Originally posted by Fletcher
Really? And you don't find the bottom to turn into an indistinct, washed out, ball of ****? Interesting...
glad to read that im not the only one who hears this... for a while i thought it was just me since no one else seems to mention this.
Old 18th April 2003
  #47
jon
Capitol Studios Paris
 
jon's Avatar
 

Until selling the 33609, we had it, a Tubetech SMC2B, a GML 8900 and the SL9000J mixbus comp available for the 2-bus.

I always use the SMC2B for the mix. The GML comp is now in our PT MixCube/DM2000 production room instead of the 9k room. Most freelancers use either the J series comp, the SMC2B, or none at all. FWIW the Crane Song stuff isn't well-known by freelancers over here.

The 33609 got sold because I didn't like how that particular one sounded. Sometimes freelancers brought in C1s and C2s, but they didn't sound better than the 9k mixbus comp to me.

There is a Fatso in the room since last week...it's being used as a stereo drum bus comp.

FWIW II: A freelancer in for an album mix, who is used to working on Neve VRs and SSL G series, brought in his own PT rig with 8 mix farms in order to have Oxford/GML EQ plug-ins on every channel of the PT session before sending them out individually to the console. He compared the plugins to the SSL J series channel EQs during the first day...and ended up removing all the Oxford plug-ins. (Fellow GS member Kent was working on those sessions and he witnessed this first-hand....Kent, correct me if I'm wrong here.)
Old 18th April 2003
  #48
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blackcatdigi's Avatar
Quote:
Originally posted by alphajerk
glad to read that im not the only one who hears this... for a while i thought it was just me since no one else seems to mention this.
Hey Alpha, I've noticed that you appear to be fairly uhmm, shall we say, less than impressed with Manley gear, in general...

Is your opinion based on a lot of personal experience with several examples of their various offerings, or one or two exposures to one particular piece? Just curious...

BTW, our old 6386 VM does not "****ty up" the bottom. But, the STC-8 has been the 2-bus comp of choice, as of late.

YMMV.
Old 18th April 2003
  #49
Lives for gear
 
chap's Avatar
 

odd

hhhmmm..

The right tool in the right hands.
It's funny, Graceland, Born to Run, Good Dog Happy Man, all have great bottom and all were mastered with the Manley or it's grandfather. I've watched
as all of Dylans stuff is being mastered through the Manley as well as the Strokes. Seems pretty versatile to me. In the right amounts, it works great. It's not meant to crush. Use the SLAM! for that.
As a well known mastering guy said to me recently, 'The SSL sounds too'desky'.I like the word and I know what he means. Over processed, compressed and eq'd to death.
Old 19th April 2003
  #50
Quote:
Originally posted by jon

He compared the plugins to the SSL J series channel EQs during the first day...and ended up removing all the Oxford plug-ins. (Fellow GS member Kent was working on those sessions and he witnessed this first-hand....Kent, correct me if I'm wrong here.)
Ha, Ha, I'm not surprised.
Plug-insfuuck
IMVHO
Old 19th April 2003
  #51
Gear Addict
 
mdbeh's Avatar
 

Re: odd

Quote:
Originally posted by chap
... Good Dog Happy Man...
Bill Frisell--what a great player. GDHM sounds terrific, too. Were you involved in the recording at all? I'd love to hear any details on how it was done.
Old 19th April 2003
  #52
I fluctuate between the purer STC-8

And the "rock hits" - SSL
Old 19th April 2003
  #53
Lives for gear
 
chap's Avatar
 

good dog

Good Dog is one of my favorites. Other than buying it, I had nothing to do with it.
Whenever I get print, inevitably, someone draws a comparison to Fissell and that's a good thing.

My friend Calbi mastered it and he does amazing work with low end, in fact the whole spectrum.
cheers,
chap
Old 19th April 2003
  #54
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malice's Avatar
 

Re: good dog

Quote:
Originally posted by chap

My friend Calbi mastered it and he does amazing work with low end, in fact the whole spectrum.
cheers,
chap
Your friend did such a nice work on a record I mixed ...

I wish I had met him in person to thank him

malice
Old 20th April 2003
  #55
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally posted by e-cue
I'm not a fan of the 1969 Drawmer nor the Summit DCL-200 for 2 mix aps. I really dig the DCL on my backgrounds, but not on my 2 mix. The only reason I mention it is to let you know where my ears are coming from. Alot of engineers (the father of the 1969 included) want exactly what those units give them. I almost never take off more than 3 db off my 2 mix and I print with 1/2' in mind (as well as dats) which I let the loudest peak hit at about 2.5 db.
I'm in the same boat with the amount of compression though I'm usually mixing to 1/4" or digital. I'll patch the 2-buss comp in after I get my rough mix together and usually before I patch in any channel compression. Though, sometimes I do patch in channel compressors on a kick or bass or whatever isn't consistant enough or the needs tonal shaping that compression provides.

I am curious though, what don't you like about the 1969 and the DCL on your 2-mix?
Old 20th April 2003
  #56
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e-cue's Avatar
 

Quote:
Originally posted by Jay Kahrs
I am curious though, what don't you like about the 1969 and the DCL on your 2-mix?
They sound mushy to my ears, similar to hitting a console's mix bus too hard (which I love on background vocals). It's not exactly 'what I don't like' per say, more of a tool being fit for the application. I have always had to work a lot more trying to get a good sound with them on the mix bus. The Vari Mu and SSL compressor is much easier for me to rock with and I always got better results when a/bing them. I've had better results with the 200, mainly learning how to really tweek the slope. Also, I think the 200 is better suited for mid range intensive rock/metal stuff, which I don't do as much as Hip Hop, RNB, and Pop. If I was only mixing to a digital format, I might have different views on this, but when printing to 1/2', I couldn't see myself using the DCL or Merc Drawmer. I'll get more into it later... (late night vox tracking)
Old 20th April 2003
  #57
[QUOTE]Originally posted by e-cue
QUOTE] They sound mushy to my ears

My thought exactly.


The DCL-200 was a big dissapointment when I bought one years ago.

It was advertised as (2) TL100A(this is back when the TL100A was a good compressor).

It has no magic to it, just sits there.

The 1969 is a nice compressor for the lead vocal mixdown at times, but same thing as above, it just tends to sit there. To me there are other comps that can be used for these functions.
Old 20th April 2003
  #58
Gear Maniac
 

Thanks to everyone who has responded to this post. Just to get a little more specific on the Smart Compressors, does anyone have any comments on the C1 or C2 and how the might compare?

Many thanks,

Everglass
Old 20th April 2003
  #59
Moderator emeritus
 

Quote:
Originally posted by thethrillfactor
[
It was advertised as (2) TL100A(this is back when the TL100A was a good compressor).

.
When was the TLA100 a good compressor? I've gpt one that's old enough that it doens't have the "100" on the face plate (It's simply a 'Tube Leveling' Amplifier'), and another that's not much newer than that. I wouldn't really consider either to be 'good'. They're noisy and lack low end. Of course, in the right situation, they worl very well, but nt a s a general use box.
Old 20th April 2003
  #60
Quote:
Originally posted by Dave Martin
When was the TLA100 a good compressor? I've gpt one that's old enough that it doens't have the "100" on the face plate (It's simply a 'Tube Leveling' Amplifier'), and another that's not much newer than that. I wouldn't really consider either to be 'good'. They're noisy and lack low end. Of course, in the right situation, they worl very well, but nt a s a general use box.
Dave,

When it first came out(remember Dave Hill was making them), the majority of major releases was still tracked to 2 inch. Yeah it was noisy(no make up gain), but mixed with the noise from a 2 inch, you actually lived with it.

A lot of times i liked it better than the CL1B for vocals(so did a lot of guys here in NYC).

When I started tracking to digital, that's where the noise started becoming a major problem. I think that's around the time that the CL1B started becoming the go to comp.

It is still a nice comp.

If there is one around these days, I usually throw it in as part of a snare mult.

I like the "tube crunch" on snare sometimes.

I think th
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