The No.1 Website for Pro Audio
 All  This Thread  Reviews  Gear Database  Gear for sale     Latest  Trending
Vertigo VSC-2 or GML 2030?
Old 1st December 2009
  #1
Lives for gear
 
OurDarkness's Avatar
 

Vertigo VSC-2 or GML 2030?

Hi,

I am in the process of buying a compressor. Wanted to get the Vertigo VSC-2 (with 1 or 2 modifications) but then I saw the GML 2030 and now I am in a dilemma..lol.

I know that the VSC-2 is transparent up to a certain point and then the more you push it the more it colors, right? Whereas the 2030 is very transparent no matter what.

I can live with no detented controls.

Whatever I choose, it will be used with electronic music (heavy Moog basses, pads, leads and the like..) mainly for tracking and less for mastering. I have asked [email protected] and he said that he can mod the VSC-2 to also have side-chain inputs so that I can use it for bass/drum side-chain compression.

Would like to ask how much can I compress before I start hearing strange artifacts that have little to do with the signal per se. I am mostly interested in transparent compression but wouldn't mind a little color.

I will also use it with vocals (although rarely).

I would like to know your opinions before I fork out the greens.heh
Old 1st December 2009
  #2
Lives for gear
 
inlinenl's Avatar
 

Verified Member
why no mpressor ... ???? for mixing .... if you want to get dirty ( sometimes ) ...
Old 1st December 2009
  #3
Old 1st December 2009
  #4
Lives for gear
 
OurDarkness's Avatar
 

Thanks for the answer. I have read that thread about the VSC-2. How about the 2030? There's hardly any mention of them.
Old 1st December 2009
  #5
Gear Maniac
 
SSMastering's Avatar
 

There probably aren't too many members here who have used it, for the same reason: they haven't heard enough about it. You can always try it out, then send it back if you don't like it. Personally, I think transparency is key for certain instruments.
Old 1st December 2009
  #6
Lives for gear
 
OurDarkness's Avatar
 

Yeah I know what you are talking about. It seems to me that not many people like GML compressors - maybe they're too transparent (or too expensive..heh)
Old 1st December 2009
  #7
Gear Maniac
 
ThatSoundsWHAMMY's Avatar
 

I always find it weird when a mastering compressor pops up here that nobody has any experience with.

This is the mastering section in gearslutz after all!

But to think that a mastering engineer hasn't heard about this unit (the 2030) is crazy talk. Especially seeing as how famous the 9500 is in the mastering world.
Plus on top of that it's the first link on the massenburg page!
It's kinda hard really not to know about this compressor unless you walk around with blinkers on.

But yet I have still to see a mastering studio equipped with one of these bad boys.

Hmmm, maybe it's one of those well kept secrets or maybe it a heap of ****e...
...who knows cause apparently nobody's used the damn thing.
Old 1st December 2009
  #8
Gear Addict
 
turtlerock's Avatar
 

Verified Member
i have a 2030 here that i have been demoing for some time
( and i am now planning to buy it for the new room )

off the bat i could not really figure out how to use it , because frankly it is not "normal " but over time and a certain amount of effort i have really grown to love it

it locks up a track in a transparent and very musical way if you set it right in a direction that nothing else does
or it demolishes it if you set it wrong .

my feeling is it is a very hard thing to commit to on first listen / try because its DRC functions are kinda unique .. which is why they are not everywhere
it takes a long time to see the beauty in this beast ... but boy when you do

all that doesnt help much as a description i understand but the bottom line is i really like it

i have no interest in the vertigo
Old 2nd December 2009
  #9
Lives for gear
 
OurDarkness's Avatar
 

Quote:
Originally Posted by turtlerock View Post
i have a 2030 here that i have been demoing for some time
( and i am now planning to buy it for the new room )

off the bat i could not really figure out how to use it , because frankly it is not "normal " but over time and a certain amount of effort i have really grown to love it

it locks up a track in a transparent and very musical way if you set it right in a direction that nothing else does
or it demolishes it if you set it wrong .

my feeling is it is a very hard thing to commit to on first listen / try because its DRC functions are kinda unique .. which is why they are not everywhere
it takes a long time to see the beauty in this beast ... but boy when you do

all that doesnt help much as a description i understand but the bottom line is i really like it

i have no interest in the vertigo
Thanks for the comments!

Have you tried the VSC-2 and didn't like it or having the 2030 made the VSC-2 kinda obsolete?
Old 2nd December 2009
  #10
Gear Addict
 
turtlerock's Avatar
 

Verified Member
yeah the vertigo was not for me its nice but not unique
i have too many compressers anyway
so i was not looking to buy the massenburg gear either
but i made a promise to check it out ... then damn i want to keep it
Old 2nd December 2009
  #11
Lives for gear
 
Paul Gold's Avatar
 

Verified Member
Crest factor. Pure genius. I've had my eye on that thing. I've looked at it carefully the past two AES shows. That's a serious box. I only asked questions. There is no point running audio through it unless you have it for a while. I doubt it has much of a "sound". You better know what your after before you turn the knobs.
Old 2nd December 2009
  #12
Gear Addict
 
turtlerock's Avatar
 

Verified Member
crest factor is only half the rubics cube what about rel.hyst in db ?
Old 2nd December 2009
  #13
Lives for gear
 
Gravity8058's Avatar
 

Quote:
Originally Posted by turtlerock View Post
crest factor is only half the rubics cube what about rel.hyst in db ?
I'm guessing Release Hysteresis?
Old 2nd December 2009
  #14
Lives for gear
 
Adam Dempsey's Avatar
 

Verified Member
Quote:
Originally Posted by OurDarkness View Post
Hi,

I am in the process of buying a compressor. Wanted to get the Vertigo VSC-2 (with 1 or 2 modifications) but then I saw the GML 2030 and now I am in a dilemma..lol.

I know that the VSC-2 is transparent up to a certain point and then the more you push it the more it colors, right? Whereas the 2030 is very transparent no matter what.

I can live with no detented controls.

Whatever I choose, it will be used with electronic music (heavy Moog basses, pads, leads and the like..) mainly for tracking and less for mastering. I have asked [email protected] and he said that he can mod the VSC-2 to also have side-chain inputs so that I can use it for bass/drum side-chain compression.

Would like to ask how much can I compress before I start hearing strange artifacts that have little to do with the signal per se. I am mostly interested in transparent compression but wouldn't mind a little color.

I will also use it with vocals (although rarely).

I would like to know your opinions before I fork out the greens.heh
Only the threshold and gain controls are unswitched. And of course side chain filters are already there @ 60 & 90Hz.

A great snappy, clean VCA sound and yes it can be very transparent in terms of gain reduction (as I imagine it'd be faced with a lot more of that in mixing). Our review is on the Vertigo site. Not used the GML.
Old 2nd December 2009
  #15
Lives for gear
 
Adam Dempsey's Avatar
 

Verified Member
Quote:
Originally Posted by Gravity8058 View Post
I'm guessing Release Hysteresis?
wow, even the SADiE mastering limiter has that function (which I found quite useless, but that was that).
Old 2nd December 2009
  #16
Lives for gear
 
Paul Gold's Avatar
 

Verified Member
Quote:
Originally Posted by turtlerock View Post
crest factor is only half the rubics cube what about rel.hyst in db ?
The way the thing is designed is nice. Three detectors working in parallel. The attack and release are only confusing because it uses RMS detection where attack and release are tied together. Not much different than anything else. (IIRC the release hysteresis actively drains the timing C. A clever trick) Nothing else does crest factor control.
Old 2nd December 2009
  #17
Gear Addict
 
turtlerock's Avatar
 

Verified Member
the old sontec DRC had crest factor
i ask george exactly who designed that
"oh it was me " he said
Old 2nd December 2009
  #18
Lives for gear
 
dave-G's Avatar
 

Verified Member
I'd second what Rick said ... well ... to be fair, I've not used the 2030 itself, but have spent a lot of quality time with the non-switched version (the 8900) in the past. They're probably not ubiquitous in mastering studios because the controls are a bit daunting in their relative complexity and take a bit of getting used to (and the range of control enables settings that can go beyond the range of routine mastering needs) ...

But ... once you get a feel for how the controls interact, it becomes a really powerful tool, more from a perspective of transparent dynamics control than for 'tone-plus-twitching'.

I'm of no use in comparing to the Vertigo, but I do think the 2030 would be interesting to spend some demo-time with.

-dave
Old 2nd December 2009
  #19
Lives for gear
 
Paul Gold's Avatar
 

Verified Member
Quote:
Originally Posted by turtlerock View Post
the old sontec DRC had crest factor
So does the Flux Alchemist. They call it Bitter/Sweet. Very useful for cutting.
Old 2nd December 2009
  #20
I had my hands on one for a mix. I loved it. Yes, this is a transparent compressor, but it doesn't mean that you can't get some attitude out of it.
Old 3rd December 2009
  #21
Gear Addict
 
K. Evan Hodge IV's Avatar
 

Quote:
Originally Posted by ThatSoundsWHAMMY View Post
But yet I have still to see a mastering studio equipped with one of these bad boys.

We have one here at Tone Proper. As turtlerock said, takes a whole lot of getting used to......and can very easily damage a record. At the same time, you can do so much with it subtly that there are very few things that can do what it does. It reminds me of the 9500 in the way that you can do a lot with it and not necessarily know it....until you switch it out.


K
Old 6th December 2009
  #22
Gear Addict
 
zenmastering's Avatar
Quote:
Originally Posted by Paul Gold View Post
So does the Flux Alchemist. They call it Bitter/Sweet. Very useful for cutting.
The Flux Solera and Alchemist plug-ins were inspired by the GML hardware...

Graemme
Old 7th December 2009
  #23
Gear Maniac
 

Quote:
Originally Posted by OurDarkness View Post
Hi,

I am in the process of buying a compressor. Wanted to get the Vertigo VSC-2 (with 1 or 2 modifications) but then I saw the GML 2030 and now I am in a dilemma..lol.
From what I know, GML is super transparent, but I have not personally worked with one. I had a chance to hear the Vertigo in action when sitting in on a session with Greg Calbi at Sterling. All I can say is WOW. It was used very sparingly, barely any movement on the gain reduction meter, but the bottom of this track tightened up and focused perfectly. I want one.
Old 7th December 2009
  #24
Gear Addict
 
starseed's Avatar
I also produce electronic music, and during a period of testing a Vertigo, I used it on everything.

The cumulative effect from this made the track go into etched, glassy territory. Something about the way it handles high frequencies.

It does distort very nicely, insanely nice crunch...and it is flexible to no end, but that thing it does with highs would make it a perfect partner to a tube compressor and some other flavors.

I had a similar trial period with a pair of Retro 176's and they were much more the thing I wanted "on everything", because things sounded more natural...even to where strapping it across a mix afterwards made sense. Not quite so with the Vertigo, *for me*.

It is a great tool, very flexible, and definitely something I'd recommend buying...maybe not for the purpose you describe, for the reason stated.

Happy hunting!

Jeremy
Old 7th December 2009
  #25
Lives for gear
 
ISedlacek's Avatar
Interesting, I use Vertigo every day and I do not notice any extra added high frequency content ... not even speaking of "glassy" sound. It would be maybe interesting to have a closer look to the converters and/or microphones used ...
Old 7th December 2009
  #26
Lives for gear
 
OurDarkness's Avatar
 

Quote:
Originally Posted by starseed View Post
I also produce electronic music, and during a period of testing a Vertigo, I used it on everything.

The cumulative effect from this made the track go into etched, glassy territory. Something about the way it handles high frequencies.

It does distort very nicely, insanely nice crunch...and it is flexible to no end, but that thing it does with highs would make it a perfect partner to a tube compressor and some other flavors.

I had a similar trial period with a pair of Retro 176's and they were much more the thing I wanted "on everything", because things sounded more natural...even to where strapping it across a mix afterwards made sense. Not quite so with the Vertigo, *for me*.

It is a great tool, very flexible, and definitely something I'd recommend buying...maybe not for the purpose you describe, for the reason stated.

Happy hunting!

Jeremy
Nice, thanks for your comments. I will be using whatever compressor I get with a Massive Passive. I thought it'd be nice to have something clean.

Ivo, did you use the VSM-2 at all?
Old 7th December 2009
  #27
Gear Addict
 
mischa janisch's Avatar
 

The VSC-2 is my main compressor - I'm using it on almost anything since it's hard to find anything it won't work for. It's fairly transparent sounding but still has that VCA vibe. I had the 90Hz sidechain option moded to 45 Hz by Andy since it didn't work for me, which now decorrilates the gain reduction from heavy bass just slightly.

I don't know much about the GML - tried it once in the studio, but as others have suggested - I got the impression that I'd need to spend quite some time to get the hang of it.
Old 8th December 2009
  #28
Mastering Moderator
 
Riccardo's Avatar
 

Verified Member
Quote:
Originally Posted by mischa janisch View Post
it's hard to find anything it won't work for
I haven't had the chance to use the GML but my experience with the Vertigo is exactly the same.
Old 8th December 2009
  #29
Lives for gear
 
Adam Dempsey's Avatar
 

Verified Member
Quote:
Originally Posted by formlabs View Post
It [VSC-2] was used very sparingly, barely any movement on the gain reduction meter, but the bottom of this track tightened up and focused perfectly.
Yes it can definitely do that – a subtle solidity.

Quote:
Originally Posted by OurDarkness
Ivo, did you use the VSM-2 at all?
Does that exist yet, beyond the prototype?
Old 8th December 2009
  #30
Lives for gear
 
OurDarkness's Avatar
 

Quote:
Originally Posted by Adam Dempsey View Post
Does that exist yet, beyond the prototype?
My point exactly. I think I saw somewhere a VSM-2 that was ...all orange... and it certainly differed from the prototype that is in their website. So I thought that it might have seen the light of day (although in limited qualities... heh)
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
Forum Jump
Forum Jump