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Old 3rd June 2019
Lives for gear
Originally Posted by StevenLMorgan View Post
As an update, Adam has been excellent in communication and working through ideas, I’ll have another go tomorrow but can confirm that Superfuse also did not make a difference.

Lest anyone interpret that I am not satisfied with the RS124s, this is not the case.

If my attempts tomorrow are not successful, I will likely follow conventional wisdom and drop in another compressor after the RS124, keeping all the goodness of the 124 intact and just catching anything missed.

Sure, it would be ideal financially if I needed fewer compressors but, the RS124 is way too good to lose and selecting another additional compressor that can catch anything the 124 misses, is exciting.
I'll just offer this.

For my workflow, a compressors' primary role is not to catch every peak on the way in. Managing peaks and transients is one of several jobs a compressor can do, but I find I rarely use it in that specific way.

I pretty much always use a compressor in tracking to provide what Hugh Robjohns refers to in this sound on sound article ( as "uplift compression", which brings up the quiet parts without affecting the transients in the original material.

If I'm having a problem with signal that's too hot, I'll turn down the gain on the amplifier, or put more distance between the source and the microphone. I find no reason, personally to send things in hot enough that the compressor is the last line of defence before overloading converters.. esp. since I'm planning to use the unprocessed signal .. of course you might find yourself in a situation in which it's not possible to properly manage the input level this way.. let's just say I WAS using a compressor as a last line of defence before a hot signal hits my converters, I'd probably try a Fet, or VCA or even an opto before a VariMu.. but that said, I track pretty much every vocal recording I do through either an RS124 or a Mercury 66 (both VariMu style), in parallel (see uplift compression above) .. and I only rarely patch another compressor in before / after, but even then, it's usually more to manage the push/pull of transient shapes or add color, not stand guard against overloading my converters.. but since parallel processing gives you a compressed copy, you can usually dial up your input signal to dig a little deeper into your compressor until it can handle your troublesome peak acceptably, hopefully giving you a useful source for comping should you have missed the mark managing your input levels.

Now, to completely contradict everything I've just said...
Regarding the RS124, I actually would have expected that digging in a little harder into SuperFuse mode would have helped manage your unruly peak, and I assume you've already tried "turning it down" so maybe a 2nd unit with faster action is just what the doctor ordered.. and either way, another good quality outboard compression option should be pretty damn fun and open up a lot of possibilities for you.. and you shouldn't have to spend a ton of money really. I love my api 527, my splice, and my LA500a, but there are so many options nowadays. Keep your eye out for a good deal on a good unit and you probably can't go terribly wrong.

..and yeah, I'd definitely be keeping that RS124 if I was you. It's usually the first compressor I patch in. It does a pretty specific thing to my ears that you're probably not going to get out of a lot of other units (unless I suppose you are modifying an old Altec 436 ..maybe? .)

Anyways, not sure if any of this is helpful at all, but have fun!