peezy
Full Member
Posts: 39
|
Post by peezy on Aug 10, 2024 1:25:01 GMT -6
...and then I'm done with buying studio gear I'll have everything I need.  I lied I ordered a sebatron vmp 2000e (two channel version) a few hours ago. 🙃 |
|
|
|
Post by Vincent R. on Aug 10, 2024 6:23:48 GMT -6
I have the Buss Comp, Opto, and V Comp. The Buss Comp lives on my stereo buss. It seems to add a little weight, but maintain clarity. It also seems to slightly widen the stereo image in a good way.
I probably use the Opto most. I use the Opto when working on session work in my rough mixes when presenting my work to clients for review. The Opto allows me to run my raw vocal through and show clients what a final product may sound like. It has a smiley face frequency curve, giving the signal a bump on the bottom for weight and a rise on the top for shine. I tend to use it in conjunction with my SSL comp, but LA2As are frequently used in tandem with other comps, like 1176s, etc. I let the SSL shape the sound and the Opto color the sound and catch the peaks. Works beautifully that way.
The V Comp is one of those pieces that has a very specific sound. It will either work or it won’t. I think a lot depends on the source and genre you are working with. It has this slight frowny faced frequency response which pushes all the mids up, and gives a ton of vibe and color. When it works it sounds gorgeous. I will say, I enjoy tracking with the V Comp more than the Opto, as I find I can dial it in easier. I’ve enjoyed it working on Jazz vocals. I also find it works best with certain mic pairings, at least on mine and Emily’s voices. I like it with K47 based mics; my FleA 49 or Pearlman TM1. I don’t like it as much with my U67 style mics.
A pair of their Pultecs are currently on my list… as is a second Opto down the road. I hear they are making a 33609. That will probably end up on my list as well.
On a side note, they are great over there; good communication and service if needed.
|
|
|
|
Post by skav on Sept 19, 2024 8:04:27 GMT -6
Bump! I'm curious what your favorites are NOW and what you use them for?
I just ordered a AS78 and a EQP-A (which I am planning to make a pair).
|
|
|
|
Post by skav on Sept 21, 2024 11:04:42 GMT -6
I have a 260 VU on the way.
Pretty excited about this one.
I am recording alot of this current record to 1/2" tape and I regret selling my 160 years ago.
FM
Did you like it? |
|
|
|
Post by FM77 on Sept 21, 2024 14:42:05 GMT -6
I have a 260 VU on the way.
Pretty excited about this one.
I am recording alot of this current record to 1/2" tape and I regret selling my 160 years ago.
FM
Did you like it?
Still have it. Still using it.
I had QC issues with the VU meters, both went out, the Right side VU eventually died after about 6 weeks. Was sent new meters and it's been great since.
It is very specific, grabby, classic clamping, not subtle. I think that is the appeal, useful utility character. I use it on drums and guitars. I also track with TWO 160Xs.
Its just for personal use, so I am still experimenting.
|
|
|
|
Post by poppaflavor on Sept 22, 2024 0:08:00 GMT -6
(So far) I've got the D.AM27 pre and the two comps VComp+ and AS6A.
If I had to pick a favorite piece so far... I couldn't. Can't choose between a thiccalicious SS op amp pre having a Goldilocks amount of grime and a 9-tube comp lol.
Suffice to say I'm still getting to know them all and loving them each for their special thang.
I will say though that the VComp+ has been getting relatively short shrift because I'm realizing the 6A (and other AGC goodies I got like the IRP LevelMatic and CBS Audimax) are my style overall. I'll bring the STA style VComp+ more into the fold soon. But man o' man. That 6A is deliciously smooth.
|
|
|
|
Post by sentientsound on Sept 22, 2024 2:09:40 GMT -6
I will say though that the VComp+ has been getting relatively short shrift because I'm realizing the 6A (and other AGC goodies I got like the IRP LevelMatic and CBS Audimax) are my style overall. I'll bring the STA style VComp+ more into the fold soon. But man o' man. That 6A is deliciously smooth. That's interesting - still haven't heard from anyone who's been using the 6A. Can you talk a bit more about it? Thanks! |
|
|
|
Post by bradd on Sept 22, 2024 20:14:30 GMT -6
I’ve really enjoyed tracking bass lately through my V3As. I need to try them on more things.
|
|
|
|
Post by poppaflavor on Sept 23, 2024 13:37:15 GMT -6
I will say though that the VComp+ has been getting relatively short shrift because I'm realizing the 6A (and other AGC goodies I got like the IRP LevelMatic and CBS Audimax) are my style overall. I'll bring the STA style VComp+ more into the fold soon. But man o' man. That 6A is deliciously smooth. That's interesting - still haven't heard from anyone who's been using the 6A. Can you talk a bit more about it? Thanks! I love it dearly. But. I'll speak frankly here because this is a community of adults, not like the purple site. I've faced some significant quality issues. I will say that AS Tech (thanks Matt!) has been incredibly responsive, helpful in suggesting tests, continually in contact and made the process generally less unpleasant than it could have otherwise been. No one wants to buy a $3K comp and have issues right out of the box, but I've had things happen with other more established manufacturers so my panties don't wad easily. The first issue required that I ship the unit back for repairs. And this weekend another issue arose and we are dealing with that now. When I first received it, the output transformer was reproducing the audio at a quite loud level. No way someone could track next to it. I detailed the issue and got insight at GDIY: groupdiy.com/threads/help-haunted-new-limiter-spookily-sings-the-program-material-sans-speaker.88191/Now the unit is producing massive blasts of static in an unpredictable way that seems pre-compressor (because the static is triggering GR). AS Tech replied immediately and we are working through the possibility it may be a tube set. All this description was in the name of transparency. I'm disappointed and frankly expected more. But it is what it is and I'm so far still on board with keeping it. Why? Why keep it given this? Because it sounds amazing and levels in a way that utterly complements the VComp+ or a WA2A with Bill's Kenetek T4B Nearly Stupid Fast comps. I can't afford a vintage RCA BA6A (of course) and wouldn't able to repair or refurbish an affordable one. But I really like gentle leveling as a way to distinguish sections of a song. So level a bit more in verses and then level less into chorus. That plus a 0.5-1db increase in level into the chorus provides a great contrast :-) I was using the CBS Audimax and the IRP Levelmatic, but they are older devices that are fairly noisy. I need to learn to recap them, but that's for another day. The ASA6A is a phenomenal leveler. I set a medium attack and a very slow release with about 3-4 db GR and the needle only moves about 1-2 db GR away from this middle point (never returns to baseline). Mostly use single mode, but double is still exquisitely mangeable... It's less finicky than the STA style VComp+. What is super cool as I explore it for vocal tracking is to set it for leveling and then to sing to the GR meter. I wouldn't do this myslef (or ask a vocalist to do so) in a live session, but it is really informative to learn the responsiveness. ASA6A is a VERY forgiving comp. I struggle a bit frankly with the settings on the VComp and I find myself dialing quite a bit depending on the instrument or source. Not so with the ASA6A! It is insanely forgiving. For this reason I initially wanted to get a second ASA6A and ask AS to match them. Two ASA6A for mix buss would be just HEAVENLY. I want a mix bus of ASA6A so dearly! But I put a pause on that plan until I get a better handle on the QC issues I'm facing. |
|
|
|
Post by nick8801 on Sept 23, 2024 14:06:55 GMT -6
(So far) I've got the D.AM27 pre and the two comps VComp+ and AS6A. If I had to pick a favorite piece so far... I couldn't. Can't choose between a thiccalicious SS op amp pre having a Goldilocks amount of grime and a 9-tube comp lol. Suffice to say I'm still getting to know them all and loving them each for their special thang. I will say though that the VComp+ has been getting relatively short shrift because I'm realizing the 6A (and other AGC goodies I got like the IRP LevelMatic and CBS Audimax) are my style overall. I'll bring the STA style VComp+ more into the fold soon. But man o' man. That 6A is deliciously smooth. How are you liking the DAM? I have one on the way and I’m excited to put it through the paces! |
|
|
|
Post by poppaflavor on Sept 23, 2024 15:52:17 GMT -6
(So far) I've got the D.AM27 pre and the two comps VComp+ and AS6A. If I had to pick a favorite piece so far... I couldn't. Can't choose between a thiccalicious SS op amp pre having a Goldilocks amount of grime and a 9-tube comp lol. Suffice to say I'm still getting to know them all and loving them each for their special thang. I will say though that the VComp+ has been getting relatively short shrift because I'm realizing the 6A (and other AGC goodies I got like the IRP LevelMatic and CBS Audimax) are my style overall. I'll bring the STA style VComp+ more into the fold soon. But man o' man. That 6A is deliciously smooth. How are you liking the DAM? I have one on the way and I’m excited to put it through the paces! Loving it! It's exactly what I'd hoped for. It's got a sound I find hard to define. It's not tubey, and it's not transformery really. It's my first mic pre that is designed to color at the op amp, so I think I'm hearing op amp saturation and it is delicious!! It's a little velvety on level material when pushed, but great punch and smack on transients. I'm pairing it with the Drawmer 1971 for drum buss processing. The Drawmer 1971 "Crush" function (maybe op amp based?) actually sounds to my ear a bit qualitatively akin to the color of the DAM27, but not exactly of course, so I'm finding that they pair very well together. I imagine any good, colorful op amp based EQ would be pretty good. What I haven't explored much yet (still to do) is the combo of the ADM27 with tube and transformer gear. I want to throw my RSE TS508 mix buss tube processor after the DAM27 and see hw that sounds. Please let us know your thoughts! Have fun :-) |
|
mrcel0
Junior Member
Posts: 88
|
Post by mrcel0 on Sept 23, 2024 17:03:12 GMT -6
I only have this one piece from them, but their LA2A/Opto comp is just so good for tracking vocals, it’s pretty hard to over do it, it elegantly hugs your signal enhancing it in several ways. The HF filter is perfect to remove some lows and you can get a cleaner sound without too much low end pumping it. Hard to imagine tracking without it now personally. Some singers may require a faster comp or none at all, but when a singer can either control their dynamics or aren’t as dynamic in general it works really well.
|
|
|
|
Post by poppaflavor on Sept 23, 2024 20:15:23 GMT -6
I only have this one piece from them, but their LA2A/Opto comp is just so good for tracking vocals, it’s pretty hard to over do it, it elegantly hugs your signal enhancing it in several ways. The HF filter is perfect to remove some lows and you can get a cleaner sound without too much low end pumping it. Hard to imagine tracking without it now personally. Some singers may require a faster comp or none at all, but when a singer can either control their dynamics or aren’t as dynamic in general it works really well. Do you know if that comp uses a standard T4B octal Opto cell? If so you may want to reach out to Bill at Kenetek and pick up different cells with different timing. It's a super easy switch out (just like a tube). groupdiy.com/threads/new-kenetek-t4b-opto-attenuators-for-your-la-2a-la-3a-and-similar-builds.72265/I got the WA-2A with it's stock T4B then picked up a Very Slow, a Fast and a Very Nearly Stupid Fast T4B. I also put NOS tubes all thru the WA-2A. But, in terms of difference, they're is no comparison. If you think tube rolling or op amp rolling is fun. Holy cow! I literally have turned my WA-2A into 3 additional comps. Grab a Very Nearly Stupid Fast T4B from Kenetek if they fit and now your Opto will be great for a whole different pace of vocalist. Heck get them all and have a blast! |
|
mrcel0
Junior Member
Posts: 88
|
Post by mrcel0 on Sept 23, 2024 20:25:04 GMT -6
I only have this one piece from them, but their LA2A/Opto comp is just so good for tracking vocals, it’s pretty hard to over do it, it elegantly hugs your signal enhancing it in several ways. The HF filter is perfect to remove some lows and you can get a cleaner sound without too much low end pumping it. Hard to imagine tracking without it now personally. Some singers may require a faster comp or none at all, but when a singer can either control their dynamics or aren’t as dynamic in general it works really well. Do you know if that comp uses a standard T4B octal Opto cell? If so you may want to reach out to Bill at Kenetek and pick up different cells with different timing. It's a super easy switch out (just like a tube). groupdiy.com/threads/new-kenetek-t4b-opto-attenuators-for-your-la-2a-la-3a-and-similar-builds.72265/I got the WA-2A with it's stock T4B then picked up a Very Slow, a Fast and a Very Nearly Stupid Fast T4B. I also put NOS tubes all thru the WA-2A. But, in terms of difference, they're is no comparison. If you think tube rolling or op amp rolling is fun. Holy cow! I literally have turned my WA-2A into 3 additional comps. Grab a Very Nearly Stupid Fast T4B from Kenetek if they fit and now your Opto will be great for a whole different pace of vocalist. Heck get them all and have a blast! I’m not too sure if it’s a standard T4B, but audioscape website claims it’s their own in-house T4B, pasting from their site “We hand-build our own T4B opto-attenuators in the vintage tradition, using the resistor across the panel, true to the original schematics, as opposed to the newer JBL-era T4Bs used as the standard for other manufacturers. True to the original spec we use: • 1/2 watt carbon composite resistors are used • Cornell Dubilier, Panasonic and Nichicon capacitors throughout. • NOS vintage tubes and custom-wound Cinemag transformers. The T4B Opto-Attenuators are manufactured in-house using the highest grade photocells and replica EL Panels. We compare our T4B against vintage UREl, Kenetek and Drip T4s which use similar components i.e, carefully matched Silonex NSL5910, Replica EL Panels, etc.” What you say is extremely tempting.. I read if you put a NOS telefunken smooth black in it will sound more akin to a CL1B in tone. I didn’t realize that this could also mean it would respond faster as well with certain tubes, this is definitely something id want to do although i’ve never personally opened up a comp before. |
|
