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Tired of plugs - I want a real Compressor
Old 20th July 2005
  #1
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Tired of plugs - I want a real Compressor

Hey,

So I've read the many posts about mix compressors and my search has lead me to try a couple of favorites 'round here: the Smart C1 (original), the C2M, or possibly the Drawmer 1968. My next two big projects are producing/mixing an Avril Lavigne type client and doing a Medeski, Martin & Wood type project for myself. Both important, but the first one is the paying one...

So, with all that in mind, can you give any opinions about my compressor purchase?

- proxy
Old 20th July 2005
  #2
Gear Guru
 
u b k's Avatar
 

Quote:
Originally Posted by proxy
...the Smart C1 (original) the C2M, or possibly the Drawmer 1968. My next two big projects are producing/mixing an Avril Lavigne type client and doing a Medeski, Martin & Wood type project for myself.

avril - c1

m,m,w - 1968


ah crap.


gregoire
del ubik
Old 20th July 2005
  #3
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Hey,

Thanks for the reply Ubik. Yeah, I was worried about that! P'oh! I mean, D'oh! Although maybe the 1968, while perhaps better than my DCL-200 for mix duty, is more of the same flavor-wise, and since the SSL-types are a different beast it may be a good idea to complement what I already have.

BOTH some day, but for now - you'd go C1 over the C2M? I've read the occassional person chime in with digging the C1 over the C2 -, is that because my point of reference is Pop-Rock as opposed to Pop, uh, Pop?

- proxy
Old 20th July 2005
  #4
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Smart C1

Him Proxy,

I´ve been reading about the Smart C1 because I want an SSL type comp for the 2 buss. I have notice that no one likes the new SSL logic comp. The problem is I donp´t know what do you mean with the ORIGINAL Smart C1.

PUPO
thumbsup
Old 20th July 2005
  #5
My personal choice would be the Focusrite compressor for the Avril thing.

Its a great mixbuss compressor all around.

Its my alternate when i don't use the SSL buss comp in the console.
Old 20th July 2005
  #6
More cowbell!
 
natpub's Avatar
Quote:
Originally Posted by thethrillfactor
My personal choice would be the Focusrite compressor for the Avril thing.

Its a great mixbuss compressor all around.

Its my alternate when i don't use the SSL buss comp in the console.
I presume you mean the Blue 230, yah?
Old 20th July 2005
  #7
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Hey Pupo, I just meant to draw attention to the comparison between those two models. I think some people lump them together, but certain others have chimed in specifically with the first model (C1), saying they liked it better than the new one (C2). If I'm reading peoples' posts right, it seems that for a pop-rock sound the C1 would be preferrable.

Hey Thrill, thanks for the response - You mean the Red3? I've been getting mixed signals about that comp. I've read several times that it's TLA's go-to comp for the bus, but I've also heard it described as fairly uncolored, which is not how I think of his mixes. Of course, I'm guessing he's sort of "SSL"-ifing and 1176-ing and Distress-ing subgroups first and just wants a little "kiss" of compression at the end. I would love that kind of variety, but without those other subgroup-compressors, do you still think the Red3 will go as far in the genre I'd be working in?

- proxy
Old 20th July 2005
  #8
Quote:
Originally Posted by natpub
I presume you mean the Blue 230, yah?

thumbsup
Old 20th July 2005
  #9
More cowbell!
 
natpub's Avatar
btw, here is a Blue 230 for sale in London for about $1k off the new price:



http://cgi.ebay.com/ws/eBayISAPI.dll...Name=WD1V&rd=1
Old 20th July 2005
  #10
Quote:
Originally Posted by proxy
Hey Thrill, thanks for the response - You mean the Red3? I've been getting mixed signals about that comp. I've read several times that it's TLA's go-to comp for the bus, but I've also heard it described as fairly uncolored, which is not how I think of his mixes. Of course, I'm guessing he's sort of "SSL"-ifing and 1176-ing and Distress-ing subgroups first and just wants a little "kiss" of compression at the end. I would love that kind of variety, but without those other subgroup-compressors, do you still think the Red3 will go as far in the genre I'd be working in?

- proxy
The Focusrite comps definitely have a sound.

I would not say they are transparent at all.

They definitely push the mids around 1K.

They make vocals pop out in the mixbuss better than anything i've tried out there.
Old 20th July 2005
  #11
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Thanks for the tip about the blue thrill... I'll look into that.

Any opinions on C1 vs. C2M for my situation?

- proxy
Old 20th July 2005
  #12
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Messiah's Avatar
 

Quote:
Originally Posted by natpub
btw, here is a Blue 230 for sale in London for about $1k off the new price:



http://cgi.ebay.com/ws/eBayISAPI.dll...Name=WD1V&rd=1
It's not in London, it is here in Liverpool, and I have used this very item on several projects so can vouch for it's sonic loveliness. thumbsup

(This is an ex-hire unit, fwiw, that is in excellent condition. I have no affiliation whatsoever with the company selling other than as a customer. etc, etc...)
Old 20th July 2005
  #13
One with big hooves
 
Jay Kahrs's Avatar
I'd lean towards the SSL/Smart vibe as an alternative to the DCL-200. The API 2500 is pretty cool might be worth a look if your shooting for something with some different compression characteristics inside it. That and a STC-8 are on the long list.
Old 20th July 2005
  #14
Gear Addict
 
Billster's Avatar
 

Quote:
Originally Posted by thethrillfactor
The Focusrite comps definitely have a sound.

I would not say they are transparent at all.

They definitely push the mids around 1K.
Yeah, like everything from Focusrite. At least everything I know of.

I like the Massive Passive (often in limiter mode) for fat drumsounds. I only use software comps if schedule is tight.

Regards,
Bill
Old 20th July 2005
  #15
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Massive Passive in limiter mode?? Huh? Do you mean the Vari-Mu? Is so, I agree. I think it's a little overpriced, but I'm very much in love with mine.
Old 21st July 2005
  #16
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Quote:
Originally Posted by proxy
Hey,

Thanks for the reply Ubik. Yeah, I was worried about that! P'oh! I mean, D'oh! Although maybe the 1968, while perhaps better than my DCL-200 for mix duty, is more of the same flavor-wise, and since the SSL-types are a different beast it may be a good idea to complement what I already have.

BOTH some day, but for now - you'd go C1 over the C2M? I've read the occassional person chime in with digging the C1 over the C2 -, is that because my point of reference is Pop-Rock as opposed to Pop, uh, Pop?

- proxy
I've had a couple friends say the same thing.
They like the C1 and don't really like the C2 as much.
Old 21st July 2005
  #17
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proxy's Avatar
 

Thanks for all the responses. I think I may be leaning toward the C1, which is just within reach price-wise.

I think the difference between the C2M and the C1 is probably subtle enough that I'll have to audition them. The only thing I worry about is loving whichever one I try first so much that I never want to let it go!

Thanks for the input,

- proxy
Old 21st July 2005
  #18
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proxy's Avatar
 

Quote:
Originally Posted by Winey
I've had a couple friends say the same thing.
They like the C1 and don't really like the C2 as much.
Yes, I think I'll start with the C1, and hopefully it'll just be a simple decision - get back to making music!

- proxy
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