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Clean compressors at the mastering stage Dynamics Processors (HW)
Old 23rd March 2014
  #31
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Thor's Avatar
 

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STC-8 and the Weiss DS1-Mk3 here for clean/transparent compression. Tried the GML in another studio once and was impressed.

At the right settings, the API2500 will also do clean and transparent, and the opposite extreme as well, when needed. A very versatile box.

Thor
Old 23rd March 2014
  #32
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LudwigM's Avatar
 

The cleanest comp i heard is the Elysia Alpha but i like the FCS P3S ME a lot too.
Old 24th March 2014
  #33
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Alécio Costa's Avatar
 

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I would vote at (2) STC8 and (5) Ocl2.

Avalon gear did not impress me.
Old 24th March 2014
  #34
Gear Head
One of the finest/cleanest compressor i use every day on my mastering works it's a Danfield 726 MkII bus compressor with the right setting (above all 1.2:1 ratio......invisible compression) and the Foote P3S ME!
Old 24th March 2014
  #35
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Giuseppe Zaccaria's Avatar
 

My Dangerous Comp will arrive in few days time...look forward to find in it the most invisible accurate transparent comp ever...
and im quite sure i wont be disappointed
Old 24th March 2014
  #36
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666666's Avatar
Quote:
Originally Posted by aszacca View Post
My Dangerous Comp will arrive in few days time...look forward to find in it the most invisible accurate transparent comp ever...
and im quite sure i wont be disappointed
We will impatiently await your thorough review!

Old 24th March 2014
  #37
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It seems that I'm the only one liking the SCL. IMHO it can do some serious levelling without leaving a trace. But then again I don't like stuff like the API2500, so perhaps my ears are on backwards

My SCL is on its way to home base for a recalibration, I will miss it when it's gone and welcome it when it returns.
Old 25th March 2014
  #38
Gear Maniac
 

OCL-2 with a 160/320 Hz side chain switch. Will give you some really smooth and transparent "feel it before you hear it" compression. They can bury me with mine. Absolutely love it.
Old 25th March 2014
  #39
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Giuseppe Zaccaria's Avatar
 

Quote:
Originally Posted by 666666 View Post
We will impatiently await your thorough review!


yes man i defenitely will
Old 25th March 2014
  #40
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Giuseppe Zaccaria's Avatar
 

Quote:
Originally Posted by Transistor View Post
It seems that I'm the only one liking the SCL. IMHO it can do some serious levelling without leaving a trace. But then again I don't like stuff like the API2500, so perhaps my ears are on backwards

My SCL is on its way to home base for a recalibration, I will miss it when it's gone and welcome it when it returns.

I aslo like the SCL,actually i did a recent project using the comp at friend's studio next door and i ended up using it as main comp..really like the thing..
but i wouldnt put it in olympus of the most transparent ones..
best
Old 25th March 2014
  #41
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Transistor's Avatar
 

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Quote:
Originally Posted by aszacca View Post
I aslo like the SCL,actually i did a recent project using the comp at friend's studio next door and i ended up using it as main comp..really like the thing..
but i wouldnt put it in olympus of the most transparent ones..
best
Well, I AM sniffing around a used Maselec that recently popped up around these part Counting pennies. Or øre. Some other really tempting gear in that lot as well.

Cheers,
j,
Old 26th March 2014
  #42
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polybonk's Avatar
Using the Alpha every day I remember being shocked at how close the Sonoris Mastering compressor could get when I tested it. Very impressive.
Old 28th March 2014
  #43
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Transistor's Avatar
 

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Quote:
Originally Posted by Transistor View Post
Well, I AM sniffing around a used Maselec that recently popped up around these part Counting pennies. Or øre. Some other really tempting gear in that lot as well.
Quick update: I went out and got the MLA (got a very good deal, it's got a light blue faceplate and grooved knobs, so it's probably an older unit). I already used it on a house project and can definitely vouch for it being very clean (soundwise, the unit itself needs a serious scrubdown). The only thing I miss on it is a threshold adjustment, but that's probably just me being used to having one on all the other boxes.

r,
j,
Old 29th March 2014
  #44
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Fishmed's Avatar
I use the JMK Audio JM-215C and love it.

I have a RJR SICK SICK SICK on order. I am anxious to hear how it compares.

On a side note, I listened to some samples awhile back from a Pendulum Audio PL-2 and was very impressed with what it does. Is this unit worth its weight?
Old 29th March 2014
  #45
Here for the gear
 

Maselec, Foote ME, Dramastic, Fearn, Weiss, GML all are excellent. We have heard all of these and have had a Foote and Dramastic.
The 747 only for the EQ, the compressor is not so great we have one.
Old 29th March 2014
  #46
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Giuseppe Zaccaria's Avatar
 

Quote:
Originally Posted by Fishmed View Post
I use the JMK Audio JM-215C and love it.

I have a RJR SICK SICK SICK on order. I am anxious to hear how it compares.

On a side note, I listened to some samples awhile back from a Pendulum Audio PL-2 and was very impressed with what it does. Is this unit worth its weight?

have pl2 and its really worth all those pennies,,, but,,, as all Pendulum gear have a very distinct character which you cant use all the time IMHO..

dont know any bout JMK

best
Old 30th March 2014
  #47
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Fishmed's Avatar
Quote:
Originally Posted by aszacca View Post
have pl2 and its really worth all those pennies,,, but,,, as all Pendulum gear have a very distinct character which you cant use all the time IMHO..

dont know any bout JMK

best
Here is the JMK Audio website and the JM-215C.

Thank you for the info on the PL2. What kind of character do the Pendulums have?
Old 30th March 2014
  #48
i'd add the NTP 179-160 and digital compressor Junger Accent
Old 31st March 2014
  #49
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Giuseppe Zaccaria's Avatar
 

Dangerous Comp has arrived...
first impression : superb
now i'll need some more time to dig it properly
best
Attached Thumbnails
Clean compressors at the mastering stage-img_20140331_153724.jpg   Clean compressors at the mastering stage-img_20140331_153007.jpg  
Old 4th April 2014
  #50
Quote:
Originally Posted by aszacca View Post
Dangerous Comp has arrived...
first impression : superb
now i'll need some more time to dig it properly
best
Keep us updated, I know they build quality products but what does this super clean comp add to your mixes is what we want to know.......before we buy one.
Old 4th April 2014
  #51
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666666's Avatar
Quote:
Originally Posted by Glenn Bucci View Post

Keep us updated.... what does this super clean comp add to your mixes is what we want to know....
+1

Yes, and please perhaps make some comparisons to other known mastering compressors so we have a bit of a baseline to work off of.

I think I may have mentioned this in a different Dangerous Compressor thread, but I'd love to know how this new Dangerous compares to say an STC-8 and GML 8900, among others, mainly in terms of it's inherent sonics.

Is it closer to being "ghost accurate" like an 8900, or does it have a very subtle bit of "musical juice" like an STC-8?

If it has any slight "color / character" whatsoever, could you describe it or compare it to another known mastering compressor?

What type of music styles / genres do you feel it may excel at? Does it have the type of ultra fast, ultra clear, detailed edge that certain busier or harder types of music might require (for max detail / bite / presence / space), or would you say it's instead a slight bit more towards a "sweeter" kind of thing, does the word "glue" come to mind at all, etc?

Ok.... just remember, we're all waiting... tick tock....


Old 4th April 2014
  #52
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Quote:
Originally Posted by Transistor View Post
Quick update: I went out and got the MLA (got a very good deal, it's got a light blue faceplate and grooved knobs, so it's probably an older unit). I already used it on a house project and can definitely vouch for it being very clean (soundwise, the unit itself needs a serious scrubdown). The only thing I miss on it is a threshold adjustment, but that's probably just me being used to having one on all the other boxes.

r,
j,
Yup, have any of you guys messed with the hard threshold adjustment on an A Designs Nail? I've had mine a couple months now, and that thing is amazing. Super clean too, though I think I'm late on suggestions.
Old 5th April 2014
  #53
Quote:
Originally Posted by unclerico12 View Post
Yup, have any of you guys messed with the hard threshold adjustment on an A Designs Nail? I've had mine a couple months now, and that thing is amazing. Super clean too, though I think I'm late on suggestions.
I found the Nail to be a great comp to make a 2 bus punchy and clean. Sort of a SSL punch....it seemed to me that this is its best use...and its great at it. Been thinking about the Dangerous compressor though.
Old 5th April 2014
  #54
Can anyone tell me, do clean master comps that you use deliver the kind of processing that is somewhat transparent yet able to effectively "blow up" a track and make it "breathe" but not pump? Where small changes can go a long way?

Can software comps touch some of this high end stuff in your estimation? I would guess not, otherwise you could all save yourselves quite some cash!

Thanks

Sami
Old 8th April 2014
  #55
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Giuseppe Zaccaria's Avatar
 

Quote:
Originally Posted by Fishmed View Post
Here is the JMK Audio website and the JM-215C.

Thank you for the info on the PL2. What kind of character do the Pendulums have?

little bright on high freq
Old 8th April 2014
  #56
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Giuseppe Zaccaria's Avatar
 

here we go people..made few sessions on the dm21 and i really like it,is very usefull,alot of functions that allow in a variaties of different situations..
im impressed about the true dual detector in stereo mode which makes it a no-brainer in every aspect of use..
also love the smart-dyn making the comp working 'more' but with alot of musicality..
the compressor is very clean yet very musical i imagine it perfecltly matches a fast and clean valve comp next to it (like RR or Knif) ..
i have made some samples recorded from a stem session,the original source is 24-88.2, i did downsample and Powr1 dither to 16-44 with Weiss Saracon..
Files been tracked from real musicians playing all together..
Feels like im going to use it every day as my main comp with no concern on different genres of music..
you can dowload samples here :
https://www.dropbox.com/s/c0zs76zqb2...es%2016-44.zip

Let me know what you think and what you feel out those passes
Old 9th April 2014
  #57
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Slug1's Avatar
Thanks for the info. Will check this out. Been looking for something to complement my Chandlers.
Old 9th April 2014
  #58
Quote:
Originally Posted by aszacca View Post
here we go people..made few sessions on the dm21 and i really like it,is very usefull,alot of functions that allow in a variaties of different situations..
im impressed about the true dual detector in stereo mode which makes it a no-brainer in every aspect of use..
also love the smart-dyn making the comp working 'more' but with alot of musicality..
the compressor is very clean yet very musical i imagine it perfecltly matches a fast and clean valve comp next to it (like RR or Knif) ..
i have made some samples recorded from a stem session,the original source is 24-88.2, i did downsample and Powr1 dither to 16-44 with Weiss Saracon..
Files been tracked from real musicians playing all together..
Feels like im going to use it every day as my main comp with no concern on different genres of music..
you can dowload samples here :
https://www.dropbox.com/s/c0zs76zqb2...es%2016-44.zip

Let me know what you think and what you feel out those passes
Very cool, thanks for posting!

I like setting 4 most of the time, but it especially shined on track 4. Had a lovely glue to it.

I'd so love to hear this on dance music.
Old 9th April 2014
  #59
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Giuseppe Zaccaria's Avatar
 

Forgot to mention guys that in ALL samples the Attack & Recovery were set to Automatic mode...another thing i like alot!
Old 9th April 2014
  #60
Quote:
Originally Posted by aszacca View Post
here we go people..made few sessions on the dm21 and i really like it,is very usefull,alot of functions that allow in a variaties of different situations..
im impressed about the true dual detector in stereo mode which makes it a no-brainer in every aspect of use..
also love the smart-dyn making the comp working 'more' but with alot of musicality..
the compressor is very clean yet very musical i imagine it perfecltly matches a fast and clean valve comp next to it (like RR or Knif) ..
i have made some samples recorded from a stem session,the original source is 24-88.2, i did downsample and Powr1 dither to 16-44 with Weiss Saracon..
Files been tracked from real musicians playing all together..
Feels like im going to use it every day as my main comp with no concern on different genres of music..
you can dowload samples here :
https://www.dropbox.com/s/c0zs76zqb2...es%2016-44.zip

Let me know what you think and what you feel out those passes
Some clean compressors reduce signal but you don't really hear it. What characteristics do you find this compressor adds or takes away from your mixes?
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