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Post by Deleted on Oct 12, 2021 10:42:51 GMT -6
Assuming this limited budget, how would you spend it on compressors you'd specifically want available for a recording date, meaning "committing to recorder"? We're talking vocalist(s), typical band instrumentation or soloists of any type. For a full band, this might only afford the bare minimum, and you'd have to be choosy, but that's the exercise. How many stereo pairs if any, and which are best suited? I have my own thoughts, but curious to know your priorities. Bonus points for maximum versatility when it comes to mix time. Again, around 8K or below. Thanks.
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Post by svart on Oct 12, 2021 10:49:21 GMT -6
1176. I use them for bass and vocals going into the converters every time. Maybe a distressor. I rarely use anything else going *in*.
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Post by Deleted on Oct 12, 2021 10:55:57 GMT -6
1176. I use them for bass and vocals going into the converters every time. Maybe a distressor. I rarely use anything else going *in*. I was always of the mind that "you can compress it, but you can't uncompress it", but I've mellowed on that a bit. Any revisions you care more for than others? I assumed 1176s would be top of my list. |
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Post by Deleted on Oct 12, 2021 11:00:04 GMT -6
I can't work on that budget *slams door.
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Post by svart on Oct 12, 2021 11:00:17 GMT -6
1176. I use them for bass and vocals going into the converters every time. Maybe a distressor. I rarely use anything else going *in*. I was always of the mind that "you can compress it, but you can't uncompress it", but I've mellowed on that a bit. Any revisions you care more for than others? I assumed 1176s would be top of my list. I like rev D for vocals and rev A (or D) for bass. If I had to choose one for everything it would be rev D. For vocals I'd say the comp is never doing more than about 3-5dB of compression on the big peaks. I wait until mix time to really dig in with the compressors for vocals. For bass I don't mind doing more like 6-10dB to keep the hard picking and the soft notes more alike, but I try to get the release timed for the picking speed so that it's not too bouncy sounding. |
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Post by jaba on Oct 12, 2021 11:06:42 GMT -6
If you'll be tracking a full band live and feel you'd benefit from multiple compressors on multiple sources, don't discount some low-cost classics. I find something like a dbx 160x can do a great job on drums, bass, guitars, etc.
For $8k you could grab a couple higher-end pieces (great action/tone, also great for mixing) like the 1176, an opto (the LA3A might be my desert island comp for tracking) and still have enough left over for several dbx's or the like. They're far from slouches for mixing as well.
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Post by enlav on Oct 12, 2021 11:13:42 GMT -6
Is this specifically for your own situation, or a hypothetical for ourselves?
Assuming I still have limited rack space and outlet availability at any given point in time, I'd probably end up with a Sweet Purple Ten, 2x Serpent Splice 500's, 2x Buzz Essence modules, and load up the remaining slots with whatever still fits the budget... DBX 560s, SSL's more affordable options, maybe CAPI? That's if you held a gun to my head and said that only compression counted towards this purchase. Otherwise, I'd probably spend what's left on EQ's.
While opto's might not be the first thing you think of when it comes to tracking compressors, the Buzz certainly feels fast enough for my purposes. Without having too much experience on hardware 76's (basically only a UA reissue, which didn't inspire much confidence in the build quality alone), I'm imagining it's a cleaner alternative to the 76's.
If space/outlets weren't a concern, I'd probably just load up on Stam/AudioScape solutions in this particular thought experiment. Maybe a Buzz rack opto, and then however many AS/Stam 76's I could afford. 1176. I use them for bass and vocals going into the converters every time. Maybe a distressor. I rarely use anything else going *in*. I was always of the mind that "you can compress it, but you can't uncompress it", but I've mellowed on that a bit. Any revisions you care more for than others? I assumed 1176s would be top of my list. I was of a similar mindset (though mostly because when I was learning the trade, all we had was the on-board VCA dynamics with an Otari Status, which didn't really resonate with me for one reason or another).
The one thing I'd say is that having something like a Distressor or 1176 on various tracks does let you rest a little knowing it'll be that much harder to clip on your way in. |
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Post by Deleted on Oct 12, 2021 11:22:09 GMT -6
1176. I use them for bass and vocals going into the converters every time. Maybe a distressor. I rarely use anything else going *in*. I was always of the mind that "you can compress it, but you can't uncompress it", but I've mellowed on that a bit. Yeah, I dropped that mindset years ago. Pretty much run everything through my Shelford's and LA-2A's including the EQ sections, by the time its hit the converters the song is already practically mixed and I've yet to find a way to make it sound bad. Which is a miracle for me because left alone with plugins I can train wreck a song in a femtosecond (that's a thing, I used the interwebs).. Jokes aside, take it a bit easy with the outboard and you can just touch things up / get it ready for the mastering stage. This wasn't much of an issue when recording others but tracking / mixing your own stuff isn't for the feint of heart. Mainly because you begin to hate your own songs / go ear blind after practicing, recording it, re-recording it, mixing it, mastering it, listening several times before release.. In short, I just like to idiot proof everything nowadays and it makes life a lot easier (if not ridiculously expensive). |
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Post by Blackdawg on Oct 12, 2021 11:34:16 GMT -6
2 Audioscape 1176s. Maybe 4 as you could do 1 A, 1 F and 2 D's.
That's half your budget.
Then I'd get an LA3A(maybe the audioscape one) and then La2a.
If you can't track great stuff with that, you're the problem.
Or blow all your budget on a Stereo Magic Death Eye!
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Post by Ward on Oct 12, 2021 11:45:15 GMT -6
Assuming this limited budget, how would you spend it on compressors you'd specifically want available for a recording date, meaning "committing to recorder"? We're talking vocalist(s), typical band instrumentation or soloists of any type. For a full band, this might only afford the bare minimum, and you'd have to be choosy, but that's the exercise. How many stereo pairs if any, and which are best suited? I have my own thoughts, but curious to know your priorities. Bonus points for maximum versatility when it comes to mix time. Again, around 8K or below. Thanks. You know I have thoughts on this from my favorite compressor (and other things) manufacturer, right? $8000 could buy: $1000 Opto LA2a for lead vocals of course, but more $900 76Dfor bass and also as a finisher on vocals $1800 76FTwo 1176 F revision, one for kick, one for snare, use on guitars later. $1399 D-Comp bridge diode compressor. Insane on drum buss or overheads, also unique on vocals. $699 Buss CompSSL style buss VCA comp. Nothing finishes like this thing! Total: $5800 so far . . . leaving you $3200
$2000 D3aDual LA3a in a single slot. Vocals, guitars, you name it.
1200 left?
$1399 will get you a magical V-Comp sta-level clone with more mojo or secret sauce you thought possible
or . . . $899
Get a 76a just for that grinding polish on lead vocal! Polish!! 76A or for your leftover $3200, you could get this:
Locomotive Audio's esteemed Vari-Mu which draws inspiration from several classics.Light blue path, or pink path! |
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Post by Ward on Oct 12, 2021 11:47:17 GMT -6
I've hot-linked everything to make your clicking easier.
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Post by Deleted on Oct 12, 2021 11:47:43 GMT -6
2 Audioscape 1176s. Maybe 4 as you could do 1 A, 1 F and 2 D's. That's half your budget. Then I'd get an LA3A(maybe the audioscape one) and then La2a. If you can't track great stuff with that, you're the problem. Or blow all your budget on a Stereo Magic Death Eye! Companies like AS and Stam are going to help enable this. That is a pretty solid lineup for limited space. I’ve got 12-14U plus 6 remaining 500 slots to play with, so we’re in the pocket. |
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Post by gravesnumber9 on Oct 12, 2021 11:53:09 GMT -6
If you'll be tracking a full band live and feel you'd benefit from multiple compressors on multiple sources, don't discount some low-cost classics. I find something like a dbx 160x can do a great job on drums, bass, guitars, etc. For $8k you could grab a couple higher-end pieces (great action/tone, also great for mixing) like the 1176, an opto (the LA3A might be my desert island comp for tracking) and still have enough left over for several dbx's or the like. They're far from slouches for mixing as well. You totally stole my post! Get two channels of something high end. Two channels of AudioScape 76 style. Then round out the rest with dbx 160x’s which are still cheap on the used market and very serviceable. And for personal taste I’d get the AS optocomp . |
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Post by Deleted on Oct 12, 2021 12:00:02 GMT -6
Is this specifically for your own situation, or a hypothetical for ourselves?
It's part thought-experiment, but with real consequences for me to ponder as I figure out what I can afford and what I need. I won't likely see full live band track laying (very often, it's small), more of an overdub thing, but it helps to know what would get used in that instance and go from there. There is a lot that I don't need. Need is a big word. |
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Post by Deleted on Oct 12, 2021 12:02:51 GMT -6
Serpent Splice or a Distressor for snare/vocals/nuke. Splice is 2 flavors of 1176 in one box. Distressor is “modern rock”
Or Daking FET III. You can also skip the 1176 for it if you prefer more natural sound.
Some type of leveler. Little Labs LA? Aphex? Or even an RNLA or RNC in super nice mode for dirt cheap.
DBX 160. You don’t need the X. The current one is fine.
Keep the change. Buy mics. Maybe just get something super baller like a used GML or Crane Song STC-8 if you need to spend the money for some reason.
Honesty you don’t need that much and modern converters have tons of headroom. Don’t fuck up your mixes permanently. If you don’t have enough headroom, take a lot of that cash and buy a good converter!
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Post by Deleted on Oct 12, 2021 12:04:40 GMT -6
Assuming this limited budget, how would you spend it on compressors you'd specifically want available for a recording date, meaning "committing to recorder"? We're talking vocalist(s), typical band instrumentation or soloists of any type. For a full band, this might only afford the bare minimum, and you'd have to be choosy, but that's the exercise. How many stereo pairs if any, and which are best suited? I have my own thoughts, but curious to know your priorities. Bonus points for maximum versatility when it comes to mix time. Again, around 8K or below. Thanks. You know I have thoughts on this from my favorite compressor (and other things) manufacturer, right? $8000 could buy: $1000 Opto LA2a for lead vocals of course, but more $900 76Dfor bass and also as a finisher on vocals $1800 76FTwo 1176 F revision, one for kick, one for snare, use on guitars later. $1399 D-Comp bridge diode compressor. Insane on drum buss or overheads, also unique on vocals. $699 Buss CompSSL style buss VCA comp. Nothing finishes like this thing! Total: $5800 so far . . . leaving you $3200
$2000 D3aDual LA3a in a single slot. Vocals, guitars, you name it.
1200 left?
$1399 will get you a magical V-Comp sta-level clone with more mojo or secret sauce you thought possible
or . . . $899
Get a 76a just for that grinding polish on lead vocal! Polish!! 76A or for your leftover $3200, you could get this:
Locomotive Audio's esteemed Vari-Mu which draws inspiration from several classics.Light blue path, or pink path! Call me clairvoyant, but I had an inkling you might have a clue where to turn, Ward. You've delivered a menu of mayhem. A "turn-key solution" as they say. Some attractive options into the bargain! |
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Post by Deleted on Oct 12, 2021 12:12:35 GMT -6
Serpent Splice or a Distressor for snare/vocals/nuke. Splice is 2 flavors of 1176 in one box. Distressor is “modern rock” Or Daking FET III. You can also skip the 1176 for it if you prefer more natural sound. Some type of leveler. Little Labs LA? Aphex? Or even an RNLA or RNC in super nice mode for dirt cheap. DBX 160. You don’t need the X. The current one is fine. Keep the change. Buy mics. Maybe just get something super baller like a used GML or Crane Song STC-8 if you need to spend the money for some reason. Honesty you don’t need that much and modern converters have tons of headroom. Don’t fuck up your mixes permanently. If you don’t have enough headroom, take a lot of that cash and buy a good converter! 100%. I'm much more concerned with mics and converters and would do fine with half the amount I budgeted for. Distressors were on my short list already, but you mention some great alts. Food for thought, thank you. |
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Post by Ward on Oct 12, 2021 12:17:18 GMT -6
SNIP MY POST Call me clairvoyant, but I had an inkling you might have a clue where to turn, Ward. You've delivered a menu of mayhem. A "turn-key solution" as they say. Some attractive options into the bargain! Gosh, am I that predictable or just consistent? LOL I did warn you up front!! And yes, Stam, Retro, Locomotive and CAPI can also rise to meet the need here also! All great gear |
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Post by Deleted on Oct 12, 2021 12:22:19 GMT -6
SNIP MY POST Call me clairvoyant, but I had an inkling you might have a clue where to turn, Ward. You've delivered a menu of mayhem. A "turn-key solution" as they say. Some attractive options into the bargain! Gosh, am I that predictable or just consistent? LOL I did warn you up front!! And yes, Stam, Retro, Locomotive and CAPI can also rise to meet the need here also! All great gear The Locomotive looks great. All those are solid mentions. CAPI is going in the rack. |
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Post by thehightenor on Oct 12, 2021 12:27:17 GMT -6
Lots of people tracking vocals with 1176. I just find them to "electronic" for vocals that FET element just dances around too much for me at the tracking stage.
I always reach for a Vari-MU as it just seems to have the gentle lift under the wings that suits the tracking environment.
I'm not knocking it, but personally I find a 76 style comp has a very specific footprint - mixing is a different story of course.
So to the Op definitely a great Vari-Mu in your collection.
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Post by Deleted on Oct 12, 2021 12:29:13 GMT -6
If you'll be tracking a full band live and feel you'd benefit from multiple compressors on multiple sources, don't discount some low-cost classics. I find something like a dbx 160x can do a great job on drums, bass, guitars, etc. For $8k you could grab a couple higher-end pieces (great action/tone, also great for mixing) like the 1176, an opto (the LA3A might be my desert island comp for tracking) and still have enough left over for several dbx's or the like. They're far from slouches for mixing as well. I hear all of this. |
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Post by Deleted on Oct 12, 2021 12:31:28 GMT -6
Lots of people tracking vocals with 1176. I just find them to "electronic" for vocals that FET element just dances around too much for me at the tracking stage. I always reach for a Vari-MU as it just seems to have the gentle lift under the wings that suits the tracking environment. I'm not knocking it, but personally I find a 76 style comp has a very specific footprint - mixing is a different story of course. So to the Op definitely a great Vari-Mu in your collection. I'm with you. There are some affordable options nowadays. And some... reaches. UnFairchild II anyone? |
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Post by seawell on Oct 12, 2021 12:41:42 GMT -6
Retro 176
Stam ADF
Buzz Audio Essence
Chandler RS124
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Post by Deleted on Oct 12, 2021 12:49:39 GMT -6
100%. I'm much more concerned with mics and converters and would do fine with half the amount I budgeted for. Distressors were on my short list already, but you mention some great alts. Food for thought, thank you. I'll disagree slightly with that, the biggest upgrade to your studio IME is patience. Taking the time to sift through different chains and understand exactly what you want out of them whether that be cheap or not. I'm just as bad as others for blatantly recommending top of the range stuff but in reality it doesn't often work that way, many recording studio's have created awesome sounding productions without a U67 or 251. Johnkenn was blindsided by a Warm 47, I've been taken back by an Audio Technica 2035 and a TLM 170.. I like my MOTU 1248 better than most other converters (when it works) and I've bought the popular flavour of the month on quite a few occasions and really disliked them. I've lost quite a bit of muuulaahh trying to chase that unicorn, tried everything I could get hold of from CAPI, API, Shadow Hills, Manley, Neve, Acme, Trident, DBX, UA, Neumann, Gefell, (I'll stop, this'll become a very long list) and my ultimate conclusion is.. I don't have one, try stuff and see what works for you. Don't skimp on monitors or treatment though *tis the unspoken rule of recording that has just been spoken. |
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Post by Deleted on Oct 12, 2021 12:56:07 GMT -6
Retro 176 Stam ADF Buzz Audio Essence Chandler RS124 your reviews are great. 176 grabs me right off the bat, but all great options, will investigate. Essence gets love here. Thank you. |
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