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Post by Deleted on Jan 29, 2023 22:00:23 GMT -6
Your suggestion is very intriguing because the only place where I would think to put an LA2A would be on an acoustic guitar or a bass guitar, but to be honest, I haven't spent much time with one. I think vocals get a a jolt of energy when they go through an 1176, and it's also cool to put the drum buss through a pair. Maybe I should try different strategies. When you say the LA2A is used a bunch on rock, how does it get used usually? On vocals? I really like the idea of changing my usual workflow. The 2A's primary purpose IME is vocal compression, sure it does work well on bass but there's a few tricks with the 2A that help achieve a certain "style". However this is mic and amp dependent, I'm not usually fussed about mic amps but a dynamic (like a 58) with a UA 610B into an LA-2A wasn't a great mixture. Sure I know dynamics and 2A's are a classic pairing but it does tend to strip the vocal of energy and nuance. That is sometimes required when vocalists have less than desired traits but I'm like you, I want my vox hitting hard.
Something like a U87AI, C800, TLM170 or 251 style mic with a more modern amp (RND for example) works wonders with a 2A. Tons of energy and clarity but it never sounds harsh either, also you can do the whole high / loud vocal clamp thing. You want that 2A running hot, 10dB of comp no issues at all but this is what sorts out a proper 2A from an attempted emulation. Some plugins dull and flatten the sound, my Tele 2A's or Stam never did that (oh yeah I have a Stam 2A as well), some HW is just way too clean and doesn't round off the top like a proper 2A so trying to find a decent replica can be difficult.
The Stam 2A if you can get one is great, from what I've heard from Wiz the Audioscape 2A does it right as well. The Opticom is a bit different, more juice plus a bit darker than a 2A although EQ exists if it's too much so it's not a problem and it's a great problem solving tool. The Chandler Opto sounds nothing like a 2A, it's more like a Zener and sometimes it can sound a bit odd solo'd but in a mix it's just a "betterizer". The more I use the Chandler the more I like it, plus it's pretty quick too so you can use it on just about anything..
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Post by copperx on Jan 30, 2023 0:01:35 GMT -6
I have the Hairball 1176 A and D, I was given them as payment for a job, ended up surprising me with how much I like them. I can run audio thru them if you want. Nudwig, Would it be possible to run the samples through one or both of your Hairballs? That would be great. |
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Post by Darren Boling on Jan 30, 2023 9:30:38 GMT -6
I have the Hairball 1176 A and D, I was given them as payment for a job, ended up surprising me with how much I like them. I can run audio thru them if you want. Nudwig, Would it be possible to run the samples through one or both of your Hairballs? That would be great. Sure. I got swamped with a session this weekend but hopefully can run them soon. |
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Post by enlav on Jan 30, 2023 13:14:58 GMT -6
Echoing Shadow's point as well: if vocal is the most important aspect of this venture, I'd absolutely look at other kinds of compressors. For what it's worth, I had my Stam 76A-5 wired in as part of a song-writing/testing chain I use to ensure I don't have any overs and to give me an output fader. Afterwards, I rewired it that purpose.
I personally use the AudioScape Opto and V-Comp most -- they're not 500-series, but the ballpark equivalents will definitely work just as well.
Not to talk ill on the stam at all, I own the SA-76D+ (first iteration), and that's what I use when I need that 76 sound patched in. I got them at the same time and assumed I'd find a staggering difference between the two, but I generally prefer the 76D+ most of the time. Some of that might be to the larger controls vs the small knobs.
Though if you plan on using this for all sorts of sources, I'd probably stay the course.
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Post by seawell on Jan 30, 2023 13:51:30 GMT -6
I really like the Buzz Audio Essence. I haven’t tried it yet, but based on reputation I’d check out the Retro Doublewide as well.
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Post by Darren Boling on Jan 31, 2023 9:44:13 GMT -6
I have the Hairball 1176 A and D, I was given them as payment for a job, ended up surprising me with how much I like them. I can run audio thru them if you want. Nudwig, Would it be possible to run the samples through one or both of your Hairballs? That would be great. Here's UAD 1176 rev A vs Hairball rev A. Plugin Doctor matched to the default UAD preset digging in up to 20dB. I included the preset incase your default is different than mine. |
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Post by copperx on Jan 31, 2023 14:46:07 GMT -6
Nudwig, Would it be possible to run the samples through one or both of your Hairballs? That would be great. Here's UAD 1176 rev A vs Hairball rev A. Plugin Doctor matched to the default UAD preset digging in up to 20dB. I included the preset incase your default is different than mine. Thank you so much!! It's a blind shootout. |
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Post by nobtwiddler on Feb 2, 2023 7:11:21 GMT -6
Shadow Hills Mono Optograph !
Wonderful on Vocals, acoustic guitar, Bass, Kick, Snare
They are amazing.
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Post by plinker on Jul 10, 2023 7:27:30 GMT -6
I've started my 500 journey/nightmare and I've got a Link Audio (SSL) Black EQ and DYNX (SSL 4000E channel dynamics). I also have a FMR RNC. I'm looking for a compressor that will handle 1176-style aggresive-ish vocal compression duties for rock but also serve as my general purpose compressor -- something that complements the SSL channel dynamics. The obvious choice might be a 1176 clone, but I'm tempted by the Empress, Great River, Tonelux, and Elysia, because they have things such as switchable transformer or THD mode, able to switch between FF or FB modes, etc. From all what I've read, it seems hard to "go wrong" with any one of these, but which one has the most versatility? Which one would you pick as a companion for SSL dynamics? Or which one would you definitely NOT consider? * Hairball 1176 Rev A or D * Stam Rev A 1176 * Pete's Place BAC500 (Many people recommend this one as a versatile compressor, but I can't tell what's so different about it) or * Empress ECM-519 (Top of my list, but there are no samples anywhere on the web of it compressing vocals!) * Great River PWM-501 * AML 52F50 * Tonelux TX5C * Elysia Mpressor 500 (Is it too transparent / boring?) (Serpent units not in the list because they're out of my price range, even used). I wish there was a way to compare them without going through the whole buy / try / sell-if-I-don't-like-it cycle  How do you like that DYNX? That’s a VCA right? |
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Post by copperx on Jul 10, 2023 14:52:00 GMT -6
I've started my 500 journey/nightmare and I've got a Link Audio (SSL) Black EQ and DYNX (SSL 4000E channel dynamics). I also have a FMR RNC. I'm looking for a compressor that will handle 1176-style aggresive-ish vocal compression duties for rock but also serve as my general purpose compressor -- something that complements the SSL channel dynamics. The obvious choice might be a 1176 clone, but I'm tempted by the Empress, Great River, Tonelux, and Elysia, because they have things such as switchable transformer or THD mode, able to switch between FF or FB modes, etc. From all what I've read, it seems hard to "go wrong" with any one of these, but which one has the most versatility? Which one would you pick as a companion for SSL dynamics? Or which one would you definitely NOT consider? * Hairball 1176 Rev A or D * Stam Rev A 1176 * Pete's Place BAC500 (Many people recommend this one as a versatile compressor, but I can't tell what's so different about it) or * Empress ECM-519 (Top of my list, but there are no samples anywhere on the web of it compressing vocals!) * Great River PWM-501 * AML 52F50 * Tonelux TX5C * Elysia Mpressor 500 (Is it too transparent / boring?) (Serpent units not in the list because they're out of my price range, even used). I wish there was a way to compare them without going through the whole buy / try / sell-if-I-don't-like-it cycle How do you like that DYNX? That’s a VCA right? The DYNX is fantastic. I wouldn't be my first or second choice for vocals, but it handles any source with grace. And yes, it's a VCA. After all, it's the same circuit as the SSL 4k E channel compressor. The DYNX is my #1 bass drum compressor; I don't think there's anything better for that role, except perhaps the Distressor in certain scenarios. It's also great having an analog gate. Sure, removing audio in the DAW is much more precise, but there's nothing like being able to set a gate in a few seconds. Especially when dealing with percussion, no DAW editing is needed in many cases. The click of the gate is also great if you need to add a bit of attack to the bass drum. I eventually got both a BAC 500 and a Stam 76A. |
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Post by nnajar on Jul 11, 2023 12:41:00 GMT -6
I’m going to recommend something that hasn’t been mentioned yet. But when I read the OP my first thought was an API 525
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Post by plinker on Jul 12, 2023 8:22:46 GMT -6
How do you like that DYNX? That’s a VCA right? The DYNX is fantastic. I wouldn't be my first or second choice for vocals, but it handles any source with grace. And yes, it's a VCA. After all, it's the same circuit as the SSL 4k E channel compressor. The DYNX is my #1 bass drum compressor; I don't think there's anything better for that role, except perhaps the Distressor in certain scenarios. It's also great having an analog gate. Sure, removing audio in the DAW is much more precise, but there's nothing like being able to set a gate in a few seconds. Especially when dealing with percussion, no DAW editing is needed in many cases. The click of the gate is also great if you need to add a bit of attack to the bass drum. I eventually got both a BAC 500 and a Stam 76A. Good info. Thanks. I’ve never worked with SSL channels so not familiar with it. I have a Stam 76A as well. For vocal duty, the Hairball 500 revD has similar qualities. The Stam revD is its own thing compared to the A and the Hairball. |
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Post by paulcheeba on Jul 13, 2023 2:25:33 GMT -6
I use Wes comps for mixing vocals like the Mimas and the Rhea and then automate levels post compression in the DAW.
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