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Post by thehightenor on Aug 31, 2024 3:41:21 GMT -6
On my stereo mix bus I’m using
RMS 755 (VCA) > Thermionic Phoenix MP (vari mu)
And I’m thinking now I have my new Pulse 16 I/O I might invest in a drum bus compressor.
I could just run the drums through the Phoenix and render to disk but I’m worried it’s too much then passing through it again on the stereo bus.
So I’m thinking a dedicated drum bus compressor would be very nice (hardware only)
I’m eyeing up (with my available budget)
Either Heritage Successor (I don’t have a DB comp)
Smart CL1A
??
That kinda money.
What would go well with my 755 and Phoenix?
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Post by skav on Aug 31, 2024 3:48:08 GMT -6
Maybe a bit out of your context.. But what do you think of the DBX 160 VU sound? It has a special vibe, if you like it. Audioscape has a two channel recreation.
Also they have the 1178, aswell as Stam which have some more features like slower attack and optional output transformer in/out.
Behringer have the ultra-cheap 33609 clone. For fun, you could check that out too.
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Post by bobeschism on Aug 31, 2024 4:34:59 GMT -6
API 2500+, Wes NG, Smart, Chandler TG1 etc
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Post by smashlord on Aug 31, 2024 7:33:23 GMT -6
Are you looking for something to put directly on the bus or parallel?
Similar to the CL1A, the Serpent Audio SB4001 is excellent in either circumstance. Lots of smooth punch and smack. It has a both a stepped and fully variable release, tons of attack times, as well as several side chain options and a mix knob. The only drawback is it is stereo only, no dual mono.
I have several other mainstays for drum compression..API 2500, ADR Compex, Distressors, 1176s, etc... and I am always pleasantly surprised by the Serpent for that application when I patch it in.
I might prefer the C1LA on mix bus, it just has that classic SSL thing, but on drums, the mix knob along with the extra attack times and variable release makes the Serpent potentially more useful.
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Post by lowlou on Aug 31, 2024 8:52:49 GMT -6
Transformerless Dynax 3 is the french drumbus nuclear destroyer.
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Post by robo on Aug 31, 2024 9:10:12 GMT -6
I have a Successor, and I love it on many things but for me it isn’t my favorite drum bus comp. It has a roundness to it that isn’t ideal there IMO, and I don’t like that it can’t be unlinked.
My Buzz DBC is fantastic on drums, and is in the same price range. It is my favorite piece there. Kush Tweezers are also great, as is Daking Fet III. Tweezers are better for obvious color and squishing, and the Daking is better for transient manipulation. The DBC feels sort of Goldilocks to me.
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Post by keymod on Aug 31, 2024 9:14:09 GMT -6
We have been very happy with the Audioscape D-comp on drum bus. We also use it for stereo room mics on the way in, using our AEA R88 into a pair of CAPI VP28's
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Post by vvvooojjj on Aug 31, 2024 9:32:41 GMT -6
I've used Api 2500 and Distressors with good results.
I haven't heard it in person but the demos of Stam 1178 sound rather good.
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Post by thirdeye on Aug 31, 2024 9:54:11 GMT -6
I like a pair of linked Brit Mod Distressors in parallel.
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Post by tonycamphd on Aug 31, 2024 10:12:25 GMT -6
G bus compressor puts some spank on drums
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Post by Tbone81 on Aug 31, 2024 10:33:24 GMT -6
I have a Successor, and I love it on many things but for me it isn’t my favorite drum bus comp. It has a roundness to it that isn’t ideal there IMO, and I don’t like that it can’t be unlinked. My Buzz DBC is fantastic on drums, and is in the same price range. It is my favorite piece there. Kush Tweezers are also great, as is Daking Fet III. Tweezers are better for obvious color and squishing, and the Daking is better for transient manipulation. The DBC feels sort of Goldilocks to me. What general settings are you using on your DBC? I have one but it’s usually on master bus, vocal bus, or individual channels. It always seemed to kill the transients too much on drums, but I’ve barely even experimented with it in that context. |
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Post by thehightenor on Aug 31, 2024 10:43:23 GMT -6
Are you looking for something to put directly on the bus or parallel? Similar to the CL1A, the Serpent Audio SB4001 is excellent in either circumstance. Lots of smooth punch and smack. It has a both a stepped and fully variable release, tons of attack times, as well as several side chain options and a mix knob. The only drawback is it is stereo only, no dual mono. I have several other mainstays for drum compression..API 2500, ADR Compex, Distressors, 1176s, etc... and I am always pleasantly surprised by the Serpent for that application when I patch it in. I might prefer the C1LA on mix bus, it just has that classic SSL thing, but on drums, the mix knob along with the extra attack times and variable release makes the Serpent potentially more useful. I’ve not considered the SB4001 for drums interesting suggestion - thanks. Not sure why, but I see quite a lot come up second hand. 500 series too - space saving is good for me. |
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Post by thehightenor on Aug 31, 2024 10:47:32 GMT -6
I have a Successor, and I love it on many things but for me it isn’t my favorite drum bus comp. It has a roundness to it that isn’t ideal there IMO, and I don’t like that it can’t be unlinked. My Buzz DBC is fantastic on drums, and is in the same price range. It is my favorite piece there. Kush Tweezers are also great, as is Daking Fet III. Tweezers are better for obvious color and squishing, and the Daking is better for transient manipulation. The DBC feels sort of Goldilocks to me. I thought the DBC cost way more than the Heritage unit - but looking just now I see they’re broadly similar in cost - thanks for the suggestion. I can get a demo for this unit from my regular dealer. For obvious colour and squish I can just use the Phonix MP and really drive it then use as a parallel. |
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Post by tonycamphd on Aug 31, 2024 10:49:57 GMT -6
Which one do you own? Any comments on its function? Been gasing on this for a decade or more |
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Post by smashlord on Aug 31, 2024 11:28:35 GMT -6
Which one do you own? Any comments on its function? Been gasing on this for a decade or more Rack Unit, Q2 Re-issue. I love it. I find it to be a very versatile box with tons of personality. IMO, there is no better compressor for any and all things drums, but its also quite good on bass, acoustic guitar, vocals, and even the mix bus if you want something a bit dirtier with some 70's vibe to it. The great thing about it is it has both an input gain (2 stages, actually) and a threshold control, so you can get some grit by keeping the threshold higher and using more input gain or get a cleaner smack by lowering the threshold and keeping the input gain down. On drums, it realllllly allows you to get the perfect envelope in regards to transient smack vs. sustain and body. I rarely, if ever, use the limiter or gate. All the controls may look overwhelming, but I find it to be a pretty intuitive box to dial in. |
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Post by robo on Aug 31, 2024 11:50:31 GMT -6
I have a Successor, and I love it on many things but for me it isn’t my favorite drum bus comp. It has a roundness to it that isn’t ideal there IMO, and I don’t like that it can’t be unlinked. My Buzz DBC is fantastic on drums, and is in the same price range. It is my favorite piece there. Kush Tweezers are also great, as is Daking Fet III. Tweezers are better for obvious color and squishing, and the Daking is better for transient manipulation. The DBC feels sort of Goldilocks to me. What general settings are you using on your DBC? I have one but it’s usually on master bus, vocal bus, or individual channels. It always seemed to kill the transients too much on drums, but I’ve barely even experimented with it in that context. I’m usually not slamming it, just glueing the kit together and getting it to bounce with the groove. HPF sidechain engaged and release to taste. Hard/soft knee depending on how smacky I want it. If you want a super punchy kit a VCA comp is probably a better choice, but I love the naturalism of the attack on the DBC. |
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Post by geoff738 on Aug 31, 2024 15:43:49 GMT -6
If you just want a bit of transient shaping, the little FMR beastie works fine. I am told it is not sexy however.
Cheers,
Geoff
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Post by Johnkenn on Aug 31, 2024 15:50:12 GMT -6
On my stereo mix bus I’m using RMS 755 (VCA) > Thermionic Phoenix MP (vari mu) And I’m thinking now I have my new Pulse 16 I/O I might invest in a drum bus compressor. I could just run the drums through the Phoenix and render to disk but I’m worried it’s too much then passing through it again on the stereo bus. So I’m thinking a dedicated drum bus compressor would be very nice (hardware only) I’m eyeing up (with my available budget) Either Heritage Successor (I don’t have a DB comp) Smart CL1A ?? That kinda money. What would go well with my 755 and Phoenix? 1178 |
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Post by thehightenor on Aug 31, 2024 16:56:54 GMT -6
On my stereo mix bus I’m using RMS 755 (VCA) > Thermionic Phoenix MP (vari mu) And I’m thinking now I have my new Pulse 16 I/O I might invest in a drum bus compressor. I could just run the drums through the Phoenix and render to disk but I’m worried it’s too much then passing through it again on the stereo bus. So I’m thinking a dedicated drum bus compressor would be very nice (hardware only) I’m eyeing up (with my available budget) Either Heritage Successor (I don’t have a DB comp) Smart CL1A ?? That kinda money. What would go well with my 755 and Phoenix? 1178 Yes, the Pulsar 1178 plugin is great - I'm sure the AS 1178 is truly stella! But it's 2U and I'm very short of rack space. I have 2 units of 500 series and 1 unit of 19" rack - that's it without some major re-jigging. I've only just finished re-installing my gear - I should of been more forward thinking about expansion! Perhaps I will make the effort to re-do a rack and make 2u's of space. May I ask, does your 1178 get warm when it's been on a while? |
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Post by drumsound on Sept 2, 2024 8:59:28 GMT -6
If you just want a bit of transient shaping, the little FMR beastie works fine. I am told it is not sexy however. Cheers, Geoff I used the RNC as my drum parallel for YEARS. I should do a shoot out with a couple of ITB things. Yes, the Pulsar 1178 plugin is great - I'm sure the AS 1178 is truly stella! But it's 2U and I'm very short of rack space. I have 2 units of 500 series and 1 unit of 19" rack - that's it without some major re-jigging. I've only just finished re-installing my gear - I should of been more forward thinking about expansion! Perhaps I will make the effort to re-do a rack and make 2u's of space. May I ask, does your 1178 get warm when it's been on a while? SW is having a flash sale $300 off on the SSL 2 space 500 series bus comp. |
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Post by Mister Chase on Sept 2, 2024 9:45:40 GMT -6
I use a pair of Kush Tweezers on my drum bus or drum parallel. Linkable and awesome. I got mine for like $399 a piece on sale.
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Post by sean on Sept 2, 2024 12:27:55 GMT -6
Might be a bit out of the price range but the Overstayer Stereo Voltage Control is my favorite of their units. Lots of people love the Stereo Field Effect on drums, which I also have, but I think the SVC does a nice job of going between fairly transparent/traditional sounding VCA compressor to really shaping the tone with the harmonic and behavior controls. Plus, having a wet/dry is really handy when you are compressing a bus, and the simple but nice high and low shelf sound great when you go “I wish this was just a little brighter/fuller”
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Post by drsax on Sept 2, 2024 13:07:08 GMT -6
There’s so many great options - I’d say, do your research, pick one you think will be great for the sound you are going for, and use it and enjoy it. There’s no right answer. On drum buss I’ve used and loved the following - (and would be happy to stick with any of these as my only option on drum buss):
Daking FETII Pair
AudioScape 1178 or 260vu
Kush Audio Tweaker Pair
AML 54f50 pair
Stam 33609 or Stamchild 670
API 2500
Innertube Audio Dual Atomic Squeezebox
Wes Audio Dione (or any SSL/clone)
I’d use any of these in a heartbeat in almost any style of music.
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Post by Dan on Sept 12, 2024 11:02:26 GMT -6
You need something fast and flexible with a lot of program dependency to speed up on transients but still control the body of the drums with a flexible enough release to set the drums into the mix and not pump in front of the vocals or other things supposed to be in front of them in the stereo image without brutally holding them down but of course bad mixes are everywhere. You also might want a large amount of filter shapes possible.
otb, still made, with stereo control you have right now:
Daking stuff with the auto but release is slow for many types of music. Hard to screw up and slower initial release (to control not just the stick) and faster secondary release than ssl bus compressors with the working auto release
Smart C2 with the two different attack shapes, crush, and cleaner sound than ssl. SSL auto release is very slow still.
Drawmer 1978 has a lot of control and tonal shaping possibilities and a variety of releases.
The Elysia stuff and the Crane Song STC-8 with the auto fast and attack modulation to speed up on transients can really fit things in.
Itb:
The Oxford dynamics is quite good with a controllable limiter for the louder portions or overshoots. The Oxford limiter is very good at control but quite “hard” on drum bus.
The Tokyo Dawn stuff is fabulous and can control with a variety of envelopes and program dependencies. Kotelnikov can pretty much rebalance a kit with frequency dependent ratio.
Unisum can too.
Leapwing DynOne is multi band and can too with a more distorted sound from the butchering pumping of the harmonics
PSP OldTimer MB is even more distorted and pumpy than that if you want full ringo but more control and you can set the crossover to be first other to sound less like FM radio.
Klanghlem MJUC is super flexible for everything.
You can use many of these as a special effect too or get a dedicated special fx thing like the (Softube) Chandler Germanum or Goodhertz Faraday or Vulf Compressors or all sorts of things but they don’t offer the program dependencies and control to fit the drums in the mix without being a parallel send to control the quieter parts blended with the dry and sent to another compressor or limiter to control the louder ones and use masking to make it sound okay.
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Post by lowlou on Sept 12, 2024 11:14:06 GMT -6
You need something fast and flexible with a lot of program dependency to speed up on transients but still control the body of the drums with a flexible enough release to set the drums into the mix and not pump in front of the vocals or other things supposed to be in front of them in the stereo image without brutally holding them down but of course bad mixes are everywhere. You also might want a large amount of filter shapes possible. otb you have right now: Daking stuff with the auto but release is slow for many types of music. Hard to screw up and slower initial release and faster secondary release than ssl bus compressors with the working auto release Distressor pair. Faster secondary release than daking. Very flexible. Of course they sound a sound and the distortion and you might want to limit the overshoots. Smart C2 with the two different attack shapes, crush, and cleaner sound than ssl. SSL auto release is very slow still. Drawmer 1978 has a lot of control and tonal shaping possibilities and a variety of releases. The Elysia stuff and the Crane Song STC-8 with the auto fast and attack modulation to speed up on transients can really fit things in. Itb: The Oxford dynamics is quite good with a controllable limiter for the louder portions or overshoots. The Oxford limiter is very good at control but quite “hard” on drum bus. The Tokyo Dawn stuff is fabulous and can control with a variety of envelopes and program dependencies. Kotelnikov can pretty much rebalance a kit. Unisum can too. Leapwing DynOne is multi band and can too with a more distorted sound from the butchering pumping of the harmonics PSP OldTimer MB is even more distorted and pumpy than that if you want full ringo but more control and you can set the crossover to be first other to sound less like FM radio. Klanghlem MJUC is super flexible for everything. You can use many of these as a special effect too or get a dedicated special fx thing like the (Softube) Chandler Germanum or Goodhertz Faraday or Vulf Compressors or all sorts of things but they don’t offer the program dependencies and control to fit the drums in the mix without being a parallel send to control the quieter parts blended with the dry and sent to another compressor or limiter to control the louder ones and use masking to make it sound okay. no love for the dangerous comp ? |
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