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Post by Randge on Jul 8, 2016 20:33:51 GMT -6
The 526 is cleaner and works well as a multi-use comp. It's way more transparent if you are looking for a comp that works but doesn't draw attention to itself. The Compex is more flavored and can get a lot more devastating. Both have their uses, that's for sure.
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Post by Randge on Jul 7, 2016 23:38:07 GMT -6
A point to remember with the Compex is that the threshold control is fed from the output of the preamp stage, not the input as in more modern VCA type compressors. I've found that if you set the threshold too high it is possible to clip the preamp trying to get more than a few dB of compression (depending on input level, ratio, etc.). I explored distorting it that way on purpose last night just to see what all I could make it do.
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Post by Randge on Jul 7, 2016 10:57:12 GMT -6
It's that swishy, sucky, (in a good way) Zep thing, right? How does it sound in more modest doses? Plenty of attack and punch at -4 for me on acoustic and electric gtr. It sounded amazing on a room mic I first threw it on and crushed heavily. Brings out the room around the source really well, so be sure you have the mic and treatments where you want them at tracking to get exactly what you want. I think that hard hitting stuff it's best source material, but it's very versatile if you are good with just a couple db's of compression and understand that aspect.
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Post by Randge on Jul 7, 2016 9:55:47 GMT -6
Running it it through the paces tonight! How did it go? It sounds great! Definitely an edgy and tough comp. Probably not a comp I would use on a vocal, unless it was a soft singer who really needs to sound edgy, but I can see this being a staple on drums and electric guitars to do the Compex thing. I will pick up another for a stereo pair soon.
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Post by Randge on Jul 6, 2016 22:11:23 GMT -6
I finally had a chance to listen, Wow, these are close and they all sound good. I like them in this order. 1. B 2. D 3. C 4. A Now to read the key. They reacted differently to every singer though, so, it's hard to say which one I liked the best.
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Post by Randge on Jul 6, 2016 19:24:14 GMT -6
Not without buying a Cole Clark guitar that has a 3 pickup system in them that sound fantastic.
R
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Post by Randge on Jul 6, 2016 17:21:27 GMT -6
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Post by Randge on Jul 5, 2016 19:23:38 GMT -6
For a lot of vocals, the STA can be heavy handed unless you are just kissing it. Just tell the wife you really need both!
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Post by Randge on Jul 5, 2016 17:41:12 GMT -6
The super fuse is an altogether different sound. More mid forward grind and punch which works great on some vocals depending on style. The RS-124 would make an excellent comp for room mics.
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Post by Randge on Jul 5, 2016 9:01:57 GMT -6
Any experience/opinions on the Locomotive 14b? No, but maybe Randge can comment. The Locomotive doesn't have the heft and weight of the Sta,RS-124 or the BG-2. It's a less colorful compressor and would be a fine call if that is what you're shooting for. For my dollar, I want some serious 1940's weight or complete transparent compression, depending on what I am doing. The RS-124 can do both but you have to be conservative when hitting it for a less colorful sound. The BG-2 is a fat tank of a comp that reminds me of my vintage RCA gear. Love it if I need to give a vocal some forwardness and command of the track. It also kills when using no compression and adding a bit of distortion to bass via the input and backing off the output. If you only hit it a couple db, it can be pretty invisible, too. The next comp on my list to get however, is the Charter Oak SCL-1. I need a comp that can clamp down and not really change the tone of what I am using it on. It will be good to follow a comp that is more colorful to get a few more db of compression at mix stage without taking the color too far.
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Post by Randge on Jul 2, 2016 9:47:47 GMT -6
Chandler RS-124 and Highland Dynamics BG-2 would be what I would recommend pitting against a Sta. All of the Retro stuff is fantastic, too. It boils down to what your ears like best, so you gotta try them yourself to know for sure.
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Post by Randge on Jul 1, 2016 16:30:53 GMT -6
I use it from time to time. It's a good plug with a touch of a learning curve, but it's not bad.
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Post by Randge on Jul 1, 2016 16:23:02 GMT -6
Mine will be here Tuesday!
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Post by Randge on Jun 30, 2016 8:27:06 GMT -6
The single most recorded snare drum in history is the Ludwig 14x5 Supraphonicâ„¢ and it is like the Telecaster of drums: No two players ever sound the same on the same snare drum. It is the most responsive snare around and it didn't get to be #1 for no good reason. It is the first snare drum any studio or drummer should have, then add your Black Beauty, brass piccolo, soprano and on to maple and birch snare drums too. I agree. I have one dimed to a particular sound and leave it there. I found mine for $70 on Craigslist. I'd really like to get a GMS Perimeter Vented Snare soon. To my ears, that is the best snare drum I have ever heard. gmsdrums.com/drums/snares/perimeter-venting-system/
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Post by Randge on Jun 29, 2016 11:44:37 GMT -6
I think I am buying the first one out of the gate! Randy, you and I both know that you have to buy in pairs! Eventually!
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Post by Randge on Jun 28, 2016 21:23:58 GMT -6
I think I am buying the first one out of the gate!
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Post by Randge on Jun 27, 2016 23:25:00 GMT -6
You can also use the nudge palette in Cubase, too.
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Post by Randge on Jun 27, 2016 23:23:10 GMT -6
Wouldn't that be a cool feature, though, if say - in the drum editor in the daw or whatever editor - you could have a "feel" adjustment where you could lay the snare back or whatever. Although, these are the kind of things I don't know about drums - is it all the pieces that are laying back? Kick and snare? Just the snare? I'm not sure. Are you using Groove Agent 4? There is quite a bit you can do regarding feel and swing in there.
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Post by Randge on Jun 22, 2016 15:48:06 GMT -6
John Fogerty - Centerfield Aretha Franklin's Who's Zoomin' Who? Heart Journey Starship Huey Lewis -Sports Michael Bolton Fleetwood Mac - Rumors started (finished and mixed at Sound City) Chris Isaak Dave Mathews Band Santana Booker T Jones Cyndi Lauper: She's So Unusual Queen: The Works Beastie Boys Guns N' Roses: Use Your Illusion Todd Rundgren: Nearly Human Mariah Carey: Emotions Carlos Santana: Supernatural
A few of the records tracked on that console in Addiction Studios.
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Post by Randge on Jun 22, 2016 15:09:27 GMT -6
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Post by Randge on Jun 22, 2016 15:09:17 GMT -6
What kind of monitors are they running? One pair look like ADAMs, but I couldn't identify the side pair. Have fun. There are 6 pairs of high end monitors sitting on the floor to choose from. The Adams were up at the time as they were trying them out.
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Post by Randge on Jun 18, 2016 18:55:19 GMT -6
I would be using omni mics. That would alleviate most of the issues of phase and comb filtering in that instance. Thanks Range, I've auditioned a ton of stereo pairs on the piano - Pretty much all cardiod to be sure, but including KM-184s and Octava MK-12's. They were very nice but I'm pretty sure you're right - they would have the exact same comb-filter issues. Suggestions for omnis ..that won't break the bank? ..and while I'm thinking about it, why might omni's be better for handling comb-filter related problems? Call Pepper 's Pro Shop and tell him you need a pair of C5 Miktek's. Those mics are really great and they take eq and compression well.
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Post by Randge on Jun 18, 2016 16:24:11 GMT -6
I liked it a lot as well.
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Post by Randge on Jun 18, 2016 16:23:37 GMT -6
I would be using omni mics. That would alleviate most of the issues of phase and comb filtering in that instance.
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Post by Randge on Jun 18, 2016 15:50:08 GMT -6
Considering my bass playing skills, I will only need 3 strings...lol. So, I'm leaning cheap, here. Did you ever try Dan Deurloo's D.I., John?
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