|
|
Post by geoff738 on Sept 26, 2016 20:22:05 GMT -6
Despite my avatar pic of John's former Sta, all my comps are Vca or Fet.
Thinking my next comp should therefore be something different, either vari-mu or opto. Especially with Warm and Stam entering the picture with affordable la2a clones.
wondering if it's possible to describe the similarities and differences between these topologies, and what applications you prefer them for.
Thanks,
Geoff
|
|
|
|
Post by jeromemason on Sept 26, 2016 22:36:26 GMT -6
Vari-mu's are my favorite because they have a bit of versatility while also using a tube for the actual gain reduction, along with the tube gain stages around the reduction tube. The old comp's like 670's, RCA's, UA 175/176's etc. some of those really lush sounding comps were Vari-mu's. Also they have a softer knee and are capable of being much faster than optical comps like the LA-2A. These comps you can drive into the compression and get some vibe and also drive the gain stages around them to get a really lush and fat sound. They also glue extremely well which is why they're used a lot on the master buss. A 176 style is my go to for vocal and bass compression, I can get a fat sound and the speed and aggression like an 1176.
The LA-2A is restricting the signal by using a photo resistor and basically a light bulb to control it to restrict the level, so, they are a little slower but for me they can really get away from you if you don't watch what you're doing, the compression "clamp" is more noticeable sounding to the ears the more compression you use with them. The opto's are best IMO when you use them more like a limiter, where you don't drive the compression section quite as hard and you drive the surrounding tube gain stages to get a nice thick sound. They're awesome on the front end of a vocal chain for knocking 3-5db off.
I love tube compressors because you've really got to work with your ears more than watching what a needle is doing. Get that big fat sound and don't be concerned with the needle, just get it sounding how you want and enjoy those rich harmonics from the tubes and transformers.
|
|
|
|
Post by drbill on Sept 26, 2016 22:37:37 GMT -6
Just my perspective : My favorite Opto by far is the Serpent SA3a. Basically as close to an LA3a as you can get. Muscular, articulate, and simple. And NO tubes!!  My favorite Vari-mu is.....well the Vari Mu by Manley. With tubes of course. So versatile and I use it for tracking, mixing and mastering. It's warm, gooey, and glues like no other. I have a DanDeruloo built stereo LA2a as well with ALL the best options, but if I had to do an LA style comp all over again, I'd probably do another pair of SA3a's. Actually, I'd love another VariMu and SA3a now that I think of it..... Warm or Stam? I can't comment as I've never used either, but going for the best even if the cost is more has served me well over the years. Not likely to change up now. |
|
|
|
Post by mrholmes on Sept 27, 2016 5:33:10 GMT -6
Just my perspective : And NO tubes!! If its no tubes or no tape you cant use it Sorry, just came across the other blue board yesterday while I was researching. LOL |
|
|
|
Post by geoff738 on Sept 27, 2016 11:12:36 GMT -6
Just wanna say responses like Jerome's are why I love this place.
It obviously took some thought and time, and I truly appreciate it.
And the Serpents drill mentioned are also high on my list of wants. Good stuff!
Carry on.
Cheers,
Geoff
|
|
|
|
Post by mrholmes on Sept 27, 2016 13:27:38 GMT -6
Just wanna say responses like Jerome's are why I love this place. It obviously took some thought and time, and I truly appreciate it. And the Serpents drill mentioned are also high on my list of wants. Good stuff! Carry on. Cheers, Geoff Funny drill..... |
|
|
|
Post by geoff738 on Sept 27, 2016 19:46:12 GMT -6
Just wanna say responses like Jerome's are why I love this place. It obviously took some thought and time, and I truly appreciate it. And the Serpents drill mentioned are also high on my list of wants. Good stuff! Carry on. Cheers, Geoff Funny drill..... Gotta love spellcheck. cheers, Geoff |
|
|
|
Post by mrholmes on Sept 28, 2016 4:50:22 GMT -6
Gotta love spellcheck. cheers, Geoff No its great it made me laugh for the day...!!! |
|
|
|
Post by ChaseUTB on Sept 28, 2016 8:59:11 GMT -6
Program dependent multi stage release in most options and vari mu from my research. I Think of the compression behavior as leveling on both but not an intrusive brick wall way, gentle smoothing of peaks. I tend to associate opto comps with a blanket style analogy, like the opto wraps around the peaks to comfort / smooth the signal and gold it down or closer together. Vari mu does/ can attack quicker/ harder than optos so comparing attack on both styles is different due to the rising ratio in vari mu designs and the wider knee capabilities vari mu comps have. So in that regard a vari mu could see more use or have more applications than an opto. Opto tend to have a set ratio as well and slower attack times ( generally ) than vari mu, however both can be great for enhancing RMS.
|
|
|
|
Post by EmRR on Sept 28, 2016 20:02:55 GMT -6
The Manley opto limiters are definitely transient erasers. You can disappear some mix drums in a second with one of those. I haven't been impressed with the Manley Vari-Mu's I've used, though I haven't used one with the side chain HPF. That would have to be an improvement. Rebuilt/modified Gates SA-39's and Collins 26U's always sound bigger and bolder to me. I had a 26U-2 stereo unit for a long time which I modified pretty heavily, the Manley units that came through couldn't touch it for size and lushness. The only vari-mu type I have up and running now are some obscure RCA/NBC in-house comps from the 1930's that are more like AGC's, pretty slow attack and release, with anything like a limiting sound actually being the result of system clipping. Really great on acoustic guitars, piano, and drum room mics. I seem to like that sort of vari-mu sound more than a fast limiting type for the most part, with slower attacks being usually what I used on the SA-39's and 26U's. They're also good for slow attack fast release which pushes the amp stages into a bit of fuzz.
|
|
ericn
Temp
Balance Engineer
Posts: 15,012 
Member is Online
|
Post by ericn on Sept 28, 2016 20:08:44 GMT -6
The Manley opto limiters are definitely transient erasers. You can disappear some mix drums in a second with one of those. I haven't been impressed with the Manley Vari-Mu's I've used, though I haven't used one with the side chain HPF. That would have to be an improvement. Rebuilt/modified Gates SA-39's and Collins 26U's always sound bigger and bolder to me. I had a 26U-2 stereo unit for a long time which I modified pretty heavily, the Manley units that came through couldn't touch it for size and lushness. The only vari-mu type I have up and running now are some obscure RCA/NBC in-house comps from the 1930's that are more like AGC's, pretty slow attack and release, with anything like a limiting sound actually being the result of system clipping. Really great on acoustic guitars, piano, and drum room mics. I seem to like that sort of vari-mu sound more than a fast limiting type for the most part, with slower attacks being usually what I used on the SA-39's and 26U's. They're also good for slow attack fast release which pushes the amp stages into a bit of fuzz. You always find the coolest stuff! Someday I'm driving up just to see all the stuff you have I have never seen! |
|
|
|
Post by tasteliketape on Sept 28, 2016 20:14:38 GMT -6
The Manley opto limiters are definitely transient erasers. You can disappear some mix drums in a second with one of those. I haven't been impressed with the Manley Vari-Mu's I've used, though I haven't used one with the side chain HPF. That would have to be an improvement. Rebuilt/modified Gates SA-39's and Collins 26U's always sound bigger and bolder to me. I had a 26U-2 stereo unit for a long time which I modified pretty heavily, the Manley units that came through couldn't touch it for size and lushness. The only vari-mu type I have up and running now are some obscure RCA/NBC in-house comps from the 1930's that are more like AGC's, pretty slow attack and release, with anything like a limiting sound actually being the result of system clipping. Really great on acoustic guitars, piano, and drum room mics. I seem to like that sort of vari-mu sound more than a fast limiting type for the most part, with slower attacks being usually what I used on the SA-39's and 26U's. They're also good for slow attack fast release which pushes the amp stages into a bit of fuzz. You always find the coolest stuff! Someday I'm driving up just to see all the stuff you have I have never seen! Call me I wanna go ROAD TRIP ! 😎 |
|
ericn
Temp
Balance Engineer
Posts: 15,012
Member is Online
|
Post by ericn on Sept 28, 2016 20:18:15 GMT -6
You always find the coolest stuff! Someday I'm driving up just to see all the stuff you have I have never seen! Call me I wanna go ROAD TRIP ! 😎 First you have to buy that Ampex! |
|
|
|
Post by EmRR on Sept 28, 2016 20:18:15 GMT -6
A museum is probably more profitable that a working studio! : ) Let me know if you're anywhere nearby, we'll make it happen.
|
|
