|
Post by Johnkenn on May 7, 2016 13:03:29 GMT -6
|
|
ericn
Temp
Balance Engineer
Posts: 14,967
|
Post by ericn on May 7, 2016 15:13:32 GMT -6
For LA2A inspired designs you could look into the JLM LA 500. Welcome to our little part of the Internet !
|
|
|
Post by Randge on May 7, 2016 15:47:24 GMT -6
Try an RS124 and turn that frown upside down... Lol. Got no frown. Only a smile. Don't want to turn that upside down. The other thing, no one has ever asked me if I had a RS124 at the studio. I've been asked dozens of times about an LA2a though..... Given unlimited funds and rackspace I'd have a pair of both, but I have neither, so it's the LA for me. I have both and if I had to choose, I'd pick the more versatile 124. It's also thicker and musical. That said, I have an LA-2a sitting here ready to build so that I have a pair of both 124's and LA-2a's.
|
|
|
Post by thehightenor on May 7, 2016 16:04:31 GMT -6
Not wishing to hijack the thread but when do you guys go for an 1176 type FET compressor for bass (or vocals)
I have a STA Level is use for vocals and and a Millennia compressor which is a very clean opto.
Reading this thread it seems a Vari MU and opto style compressor is popular for bass.
but then in other threads I read people saying an 1176 is a great bass comp.
Does it depend on the style of music or the tempo of the track whether you go for a Vari Mu, Opto or FET like a 1176?
Thanks
|
|
|
Post by Martin John Butler on May 7, 2016 16:21:13 GMT -6
Warm Audio just came out with a WA2A. I would trust them to get very close, and it costs $899. Warm has developed a reputation for integrity and great quality at affordable prices. They quickly handle any issues and respond to emails quickly. I will never be a DIY guy. I get that it's fun, but at the price of the WA2A , I would think those DIY guys might think hard before building their own.
|
|
|
Post by Randge on May 7, 2016 16:32:19 GMT -6
In general, I am not a fan of the 1176 (on bass) as it drastically takes lower bass content away and I find myself reaching for eq's to try to get it back. Opto's and vari Mu's are much more transparent and why I like them a whole lot more. I find that fet comps like the 1176 work well with instruments like snare, shakers and fast moving instruments like banjo and dobro that pick a lot of notes, especially in faster tempo songs. These 124's keep my bass content intact and give me pretty much what I hear in my head as optimal for upright and electric bass. You can lock it down without feeling it being locked down. It just sounds like it was played that evenly. The LA-2a can get there but with less control of the attack and release. I am very fond of the CL-1B for bass as well, as it has been a staple until these 124's came along. As for coloring things, my vintage RCA comps still win that battle and I fully believe it's the transformers that we can't get anymore. The CCA LA-1D of Jim Gilmore's that I have here falls right in between the 124's and the LA-2a. The color of an LA-2a with the recovery time being more flexible. It goes from .2 seconds to 20 seconds! My BG-2 Highland Dynamics comp is my go to for distortions and glue. It also is my subtle, hit it at -3 comp, too. It has some color just running through it with no compression and can make a bass stand to attention in a mix if you hit the input stage hot and make it distort a bit. If I were recommending comps for bass, I would tell you to look at the BG-2 or the 124's. They are both golden era sounding pieces of gear and can be used on a variety of sources reaching beyond what a Sta or LA-2a can do.
|
|
|
Post by gouge on May 7, 2016 16:42:19 GMT -6
Would like to hear (if you've had the chance) your opinion on the d864 Randge.
|
|
|
Post by thehightenor on May 7, 2016 17:48:50 GMT -6
Randge, great post.
You answered my question perfectly.
Thanks
|
|
|
Post by Randge on May 7, 2016 18:29:06 GMT -6
Would like to hear (if you've had the chance) your opinion on the d864 Randge. I haven't heard one in person just yet.
|
|
|
Post by Johnkenn on May 7, 2016 19:27:39 GMT -6
I think I've mentioned it before, but that rs124 is the best comp on bass I've ever heard. In general, I am not a fan of the 1176 (on bass) as it drastically takes lower bass content away and I find myself reaching for eq's to try to get it back. Opto's and vari Mu's are much more transparent and why I like them a whole lot more. I find that fet comps like the 1176 work well with instruments like snare, shakers and fast moving instruments like banjo and dobro that pick a lot of notes, especially in faster tempo songs. These 124's keep my bass content intact and give me pretty much what I hear in my head as optimal for upright and electric bass. You can lock it down without feeling it being locked down. It just sounds like it was played that evenly. The LA-2a can get there but with less control of the attack and release. I am very fond of the CL-1B for bass as well, as it has been a staple until these 124's came along. As for coloring things, my vintage RCA comps still win that battle and I fully believe it's the transformers that we can't get anymore. The CCA LA-1D of Jim Gilmore's that I have here falls right in between the 124's and the LA-2a. The color of an LA-2a with the recovery time being more flexible. It goes from .2 seconds to 20 seconds! My BG-2 Highland Dynamics comp is my go to for distortions and glue. It also is my subtle, hit it at -3 comp, too. It has some color just running through it with no compression and can make a bass stand to attention in a mix if you hit the input stage hot and make it distort a bit. If I were recommending comps for bass, I would tell you to look at the BG-2 or the 124's. They are both golden era sounding pieces of gear and can be used on a variety of sources reaching beyond what a Sta or LA-2a can do.
|
|
|
Post by Johnkenn on May 7, 2016 19:32:10 GMT -6
I've tracked vocals plenty of time with the CAPI 526 with fast attack and medium/fast release to catch transients. Then using the 124 or Sta for mondo lock down. Like Randy said, mostly for taming fast transients and also adding crunch on something like snare. You can really control a snare with the attack and release of an 1176.
|
|
|
Post by Johnkenn on May 7, 2016 19:33:12 GMT -6
Also really like the 526 for tracking bass in a super transparent manner.
|
|
|
Post by Randge on May 8, 2016 9:05:58 GMT -6
Also really like the 526 for tracking bass in a super transparent manner. If I could take mine off of the percussion and drums long enough to try this... Must build more!
|
|
|
Post by Jason on May 8, 2016 10:20:41 GMT -6
Are you guys favoring the 124's tone over Retro's offerings?
|
|
|
Post by Randge on May 9, 2016 16:32:15 GMT -6
Are you guys favoring the 124's tone over Retro's offerings? I fully intend to get a pair of 176's before too long. They are a little bit of a different flavor than everything else I already have and it's a delicious flavor!
|
|
|
Post by Johnkenn on May 9, 2016 17:21:31 GMT -6
I intend to get a pair too...
When I win the lottery.
|
|
|
Post by wiz on May 9, 2016 18:18:40 GMT -6
I intend to get a pair too... When I win the lottery. That sounds like the tag in a country song... I'm gonna get me a pair... Of them right thar... 176s........., oh so buttery.... (Stop) When I win the lottery 8) cheers Wiz
|
|
|
Post by Jason on May 9, 2016 18:39:10 GMT -6
"Favoring" was probably a poor word choice on my part. I was merely curious about folks' impressions of the differences in tone between the 124 and the Sta, for those who've used/own both. I'm confident both pieces are nothing short of incredible kit.
|
|
|
Post by nashbass on May 10, 2016 14:45:34 GMT -6
It's here and already in service on a bass track. The Chandler Limited RS124. I'm excited to get to know this piece of gear. Bass already sounds great! Attachment Deleted
|
|
|
Post by Johnkenn on May 10, 2016 15:00:59 GMT -6
You suck
|
|
|
Post by Johnkenn on May 10, 2016 15:01:08 GMT -6
|
|
|
Post by spock on May 10, 2016 16:47:09 GMT -6
It's here and already in service on a bass track. The Chandler Limited RS124. I'm excited to get to know this piece of gear. Bass already sounds great! Congratulations, enjoy!
|
|
|
Post by rowmat on May 10, 2016 17:21:05 GMT -6
In general, I am not a fan of the 1176 (on bass) as it drastically takes lower bass content away and I find myself reaching for eq's to try to get it back. Opto's and vari Mu's are much more transparent and why I like them a whole lot more. I find that fet comps like the 1176 work well with instruments like snare, shakers and fast moving instruments like banjo and dobro that pick a lot of notes, especially in faster tempo songs. These 124's keep my bass content intact and give me pretty much what I hear in my head as optimal for upright and electric bass. You can lock it down without feeling it being locked down. It just sounds like it was played that evenly. The LA-2a can get there but with less control of the attack and release. I am very fond of the CL-1B for bass as well, as it has been a staple until these 124's came along. As for coloring things, my vintage RCA comps still win that battle and I fully believe it's the transformers that we can't get anymore. The CCA LA-1D of Jim Gilmore's that I have here falls right in between the 124's and the LA-2a. The color of an LA-2a with the recovery time being more flexible. It goes from .2 seconds to 20 seconds! My BG-2 Highland Dynamics comp is my go to for distortions and glue. It also is my subtle, hit it at -3 comp, too. It has some color just running through it with no compression and can make a bass stand to attention in a mix if you hit the input stage hot and make it distort a bit. If I were recommending comps for bass, I would tell you to look at the BG-2 or the 124's. They are both golden era sounding pieces of gear and can be used on a variety of sources reaching beyond what a Sta or LA-2a can do. IMO an 1176 would be far more suitable for bass if you could high pass the side chain. It something I've been thinking about trying on one of our WA76's.
|
|
|
Post by Johnkenn on May 10, 2016 18:49:48 GMT -6
In general, I am not a fan of the 1176 (on bass) as it drastically takes lower bass content away and I find myself reaching for eq's to try to get it back. Opto's and vari Mu's are much more transparent and why I like them a whole lot more. I find that fet comps like the 1176 work well with instruments like snare, shakers and fast moving instruments like banjo and dobro that pick a lot of notes, especially in faster tempo songs. These 124's keep my bass content intact and give me pretty much what I hear in my head as optimal for upright and electric bass. You can lock it down without feeling it being locked down. It just sounds like it was played that evenly. The LA-2a can get there but with less control of the attack and release. I am very fond of the CL-1B for bass as well, as it has been a staple until these 124's came along. As for coloring things, my vintage RCA comps still win that battle and I fully believe it's the transformers that we can't get anymore. The CCA LA-1D of Jim Gilmore's that I have here falls right in between the 124's and the LA-2a. The color of an LA-2a with the recovery time being more flexible. It goes from .2 seconds to 20 seconds! My BG-2 Highland Dynamics comp is my go to for distortions and glue. It also is my subtle, hit it at -3 comp, too. It has some color just running through it with no compression and can make a bass stand to attention in a mix if you hit the input stage hot and make it distort a bit. If I were recommending comps for bass, I would tell you to look at the BG-2 or the 124's. They are both golden era sounding pieces of gear and can be used on a variety of sources reaching beyond what a Sta or LA-2a can do. IMO an 1176 would be far more suitable for bass if you could high pass the side chain. It something I've been thinking about trying on one of our WA76's. FC526
|
|
|
Post by rowmat on May 10, 2016 19:03:46 GMT -6
IMO an 1176 would be far more suitable for bass if you could high pass the side chain. It something I've been thinking about trying on one of our WA76's. FC526 I have a pair!
|
|