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TLA-100 vs. Trakker ??
Old 9th November 2002
  #1
Gear Maniac
 
Neve Sucks!'s Avatar
 

TLA-100 vs. Trakker ??

Ya´ll......

How does the Summit TLA-100 compare to the Canesong Trakker??
Most interested in vocal tracking and mixing......

Which one do you prefer?

Old 10th November 2002
  #2
Gear Addict
 

I haven't used the Summit....but I'll say that the Trakker is the most flexible compressor out there, especially on vocals. 4 different knees, 4 different amps. And this isn't dsp simulated crap either, the trakker is chock full of class A discrete circuitry. The thing could cook a ham on top.

It is one of those beautiful pieces of gear that you can't make sound bad.
Old 10th November 2002
  #3
Quote:
Originally posted by Ckevperry
The thing could cook a ham on top.
I've got to try that this xmas.
Old 10th November 2002
  #4
member no 666
 
Fletcher's Avatar
Interestingly, David Hill designed both... however only one is currently built in David Hill's factory, to David Hill's quite demanding tolerances... when the TLA-100 was built in Superior, WI [at David's factory], I thought it was one of the best sounding units I had ever used... I tried one recently and had to wonder if it were my tastes that had changed, or the tone of the unit [I suspect the latter].

FWIW, for my general applications, the Trakker rules... then again we were the second largest Summit dealer for a while... and dropped the line due to 'build quality' issues within a year of Summit moving the factory from Wisconsin...
Old 10th November 2002
  #5
Gear Addict
 
Greg Heimbecker's Avatar
This begs the question "What were the last serial #s coming out of Dave's facility?"heh
Old 14th November 2002
  #6
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MIKEHARRIS's Avatar
as far as control is concerned...the TLA100 & Trakker couldnt be further apart...you gotta be smarter than the average bear to know what you want...and go for it with the trakker..the Summit is in/out & hard to screw up.... a one trick pony
Old 15th November 2002
  #7
Gear Guru
 
Drumsound's Avatar
Quote:
Originally posted by MIKEHARRIS
..the Summit is in/out & hard to screw up.... a one trick pony
But is it a good trick?
Old 15th November 2002
  #8
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MIKEHARRIS's Avatar
YES
Old 16th November 2002
  #9
Lives for gear
 
Zep Dude's Avatar
 

The Summit is a great sounding tube/solid state limiter. It is not as tubey sounding as a more hardcore vintage unit like the BA6 -which can sometimes be too much of a good thing (too smoooooth) and for that reason can often be the perfect balance between warmth and detail.

It is not an aggressive unit -there's no NUKE button and it's not highly colored, but if you're just trying to level a well recorded vocal and sprinkle just a dash of fairy dust at the same time -oh yes. It works great on a wide range of instruments and it's hard to screw up a sound with it unless you're a total idiot.

If so inclined you could set this unit for 3db reduction max, leave it in the signal path for every instrument and you'd have no regrets (I've seen it done on what turned out to be world class sounding records)

Zep
MajesticMusic.com
Old 16th November 2002
  #10
Moderator emeritus
 

Quote:
Originally posted by Zep Dude

If so inclined you could set this unit for 3db reduction max, leave it in the signal path for every instrument and you'd have no regrets (I've seen it done on what turned out to be world class sounding records)
We all have opinions, I guess - I find the TLA100 to be pretty highly colored (something in the upper mids), especially compared to something like the CL-1B of Manley's ELOP. For my taste, I found it to be useless for bass and not extremely useful anywhere, exept in situations where I wanted to emphasize a little upper mid-range honk (snare and dobro come to mind).

Dave told me one time that he always thought of the TLA was 'barely useful'; compared to what he's done since, I'd have to agree.
Old 17th November 2002
  #11
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Zep Dude's Avatar
 

I worked on several albums in the mid nineties with Al Schmitt where he used them on almost every overdub. There didn't seem to be any cumulative buildup of upper mids. I think Natalie Cole's "Take a Look" was even nominated for an engineering Grammy one year.

I have heard a little of what you mean in the case of say an acoustic guitar track that already might have more mids than it should. In that case the Summit's mid range complexity wouldn't help -just as something like a Cranesong Hedd wouldn't help either.

Perhaps there is a difference in sound as Fletcher hints between the early ones that we had and the newer ones (or was he just referring to build quality)?

In any event, I wouldn't go so far as to call it "not extremely useful anywhere" but, hey, that's why there's so much gear out there -something for everyone
Old 19th November 2002
  #12
Lives for gear
 
MIKEHARRIS's Avatar
a few years ago a well known engineer came to town to do "The Three Tenors".live....and told me he was using the millennia HV3 & TLA100..on the vocal mics. I thought this to be too great a contrast...but he explained that the Summit seems to 'close down' with no signal...and 'blossom' and 'open up' under heavy compression...somewhat like a sliding High pass filter. .
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