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Post by geoff738 on Jul 29, 2024 20:33:31 GMT -6
Ok, on a train, listening to Alejandro Escovedo. Kinda bored, but not with Alejandro.
And thinking, compressor talk?
I think I tend to reach for comps in fairly standard and perhaps cliched uses and settings. Maybe just looking for some alternative approaches.
So, where do you reach for a Fet? Hardware, software? Doesn’t matter.
I know 1176/1178 are probably the most known and used by far. And I have and use the Warm 76 on vocals and bass, usually Dr. Pepper settings, sometimes into an opto. But, my favourite compressor is also a Fet. Daking. But sadly I only have one. I like it on pretty much everything. Even I have a hard time making it sound bad. But. The fastest release is .5 a second. Which seems like it should be way too slow for a lot of stuff. I dunno, always seems to be musical. I don’t use the slower settings really at all. The slowest is supposedly around 200 seconds. That’s like 3 Ramones songs. Really wish I had a pair.
Cheers,
Geoff
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Post by drbill on Jul 29, 2024 21:13:47 GMT -6
I use em wherever they sound good. I'm going to put this on your other threads too. LOL. For me, gear is NON genre or instrument specific. Works or doesn't work.
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Post by Mister Chase on Jul 29, 2024 21:18:29 GMT -6
Ok, on a train, listening to Alejandro Escovedo. Kinda bored, but not with Alejandro. And thinking, compressor talk? I think I tend to reach for comps in fairly standard and perhaps cliched uses and settings. Maybe just looking for some alternative approaches. So, where do you reach for a Fet? Hardware, software? Doesn’t matter. I know 1176/1178 are probably the most known and used by far. And I have and use the Warm 76 on vocals and bass, usually Dr. Pepper settings, sometimes into an opto. But, my favourite compressor is also a Fet. Daking. But sadly I only have one. I like it on pretty much everything. Even I have a hard time making it sound bad. But. The fastest release is .5 a second. Which seems like it should be way too slow for a lot of stuff. I dunno, always seems to be musical. I don’t use the slower settings really at all. The slowest is supposedly around 200 seconds. That’s like 3 Ramones songs. Really wish I had a pair. Cheers, Geoff 1176 and opto are kind of a default for me unless I want to get really granular or transparent with something like Pro C2 or Fir comp. Then third tier is usually all the other types. I have a Wes Mimas, Hairball D, CAPI 526(another half built) and most of the plugins. They are all pretty cool. Vocal before opto, kick, snare are the most often used applications. They are pretty versatile so I will often pull them up for any fast type source that needs control of peaks like mandolins, guitars. That CAPI 526 is really able to be transparent for the amount of GR it gets. I'd love a whole rack of them. |
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Post by geoff738 on Jul 29, 2024 21:23:48 GMT -6
I use em wherever they sound good. I'm going to put this on your other threads too. LOL. For me, gear is NON genre or instrument specific. Works or doesn't work. Fair enough. I think I use them in stereotypical places because, well they tend to work in those places. But I also have tended to get stuff a bit off the beaten path by design or accident. So Daking for Fet, Overstayer for vca buss etc. No argument that if it sounds good, go for it. Maybe just trying to jolt myself out of grabbing the usual stuff for the usual things. Cheers, Geoff |
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Post by drumsound on Jul 29, 2024 22:05:22 GMT -6
I like FET comps on bass and vocals (Purple Action, Drawmer '69) I used the '69 on mix bus for YEARS and it always sounded great, and still does, though I don't use it there as often these day. In plugin land I like both the UAD and Mc DSP FET models on a lot of sources.
In general, I like fast compression, and FETs do that quite well.
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Post by smashlord on Jul 30, 2024 9:02:55 GMT -6
My Compex lives on drum parallel. Its just toooooo good there. In a perfect world, I would have three of them because I find them just as versatile as an 1176....great on all manner of drum duties, bass, rock vocals, and mix bus when you want something really gritty and exciting. I always found it a bit strange when I would come across some video with Warren Huart talking about how confusing they are to use because I think the controls are pretty intuitive and allow you to quickly get a wide range of musical sounds.
My Serpent Splices get used on basically everything. There isn't anything they don't really work on, but vocals, bass, snare, drum rooms, drum parallel are the usual suspects. Setting them to REV A input and REV D out is pretty special on bass!
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