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Post by EmRR on Sept 9, 2015 13:19:09 GMT -6
I don't want to bum out jazznoise or anyone else (sorry!), but the thing that made me get rid of RNC's was it became apparent that the sound got 'smaller' the second you took it out of bypass, and no amount of processing really removed or made that aspect worth it to me in the end. They were relegated to BGV's for a long time, in super-nice, then auditioned and turned off for a long period of time. I have not used the 500 series version of the RNC.
I really think I have no problem recommending a pair of dbx 903's in a 900A rack over an RNC, and the cost might really not be much different, though you'll have to wire up pigtail connectors ....and those will still be cheaper than even Sweetwaters twofer deal on the 560A. ....and two 160A's off ebay are easily the same as the Sweetwater deal too.
Ignore me if you like'm.
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ericn
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Post by ericn on Sept 9, 2015 14:16:16 GMT -6
I don't want to bum out jazznoise or anyone else (sorry!), but the thing that made me get rid of RNC's was it became apparent that the sound got 'smaller' the second you took it out of bypass, and no amount of processing really removed or made that aspect worth it to me in the end. They were relegated to BGV's for a long time, in super-nice, then auditioned and turned off for a long period of time. I have not used the 500 series version of the RNC. I really think I have no problem recommending a pair of dbx 903's in a 900A rack over an RNC, and the cost might really not be much different, though you'll have to wire up pigtail connectors ....and those will still be cheaper than even Sweetwaters twofer deal on the 560A. ....and two 160A's off ebay are easily the same as the Sweetwater deal too. Ignore me if you like'm. I kind of Agree I bought used on the hype but thought the work involved in selling wasn't worth the hassle ,but I still might try your filter trick! |
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Post by EmRR on Sept 9, 2015 14:30:03 GMT -6
The filter thing helped a lot in many cases.
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Post by jazznoise on Sept 9, 2015 14:35:22 GMT -6
You won't be bumming me out. I was pretty happy with what I ended up doing today. But I can see with the SC's bass sensitivity it could definitely make things smaller by "sucking" the low end out.
Does anyone here use the RNLA? Would be seriously attempted at the moment. Might have caught the bug for tracking with compression here.
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Post by Guitar on Sept 9, 2015 15:23:30 GMT -6
You won't be bumming me out. I was pretty happy with what I ended up doing today. But I can see with the SC's bass sensitivity it could definitely make things smaller by "sucking" the low end out. Does anyone here use the RNLA? Would be seriously attempted at the moment. Might have caught the bug for tracking with compression here. I found the RNLA to be slightly less all purpose than the RNC, but what I liked it on, I liked it on a lot. Specifically on zingier stuff like cymbals and acoustic guitars, I thought the RNLA smoothed out the top end in a nice way. Maybe it's a bit more specific but I thought it was a pretty cool sound. It's a little heavier sounding than the RNC. |
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Post by Guitar on Sept 9, 2015 15:25:02 GMT -6
Also both of these have been released in the 500 series format, which means balanced audio connections, which might solve some of the headaches along with the easily mountable form factor of 500.
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Post by Ward on Sept 10, 2015 7:48:28 GMT -6
I still have some old Symmetric SX206s and 525s in my "never gets used" rack.. I've heard some guys love them on acoustic guitars and I've been thinking of trying them out in that application.
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Post by stratboy on Sept 10, 2015 11:27:39 GMT -6
I still have some old Symmetric SX206s and 525s in my "never gets used" rack.. I've heard some guys love them on acoustic guitars and I've been thinking of trying them out in that application. Jim Jacobson of JJ Audio does a nice upgrade to these and other forgotten favorites. |
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Post by svart on Sept 10, 2015 18:51:18 GMT -6
I still have some old Symmetric SX206s and 525s in my "never gets used" rack.. I've heard some guys love them on acoustic guitars and I've been thinking of trying them out in that application. I use my 525's on acoustic routinely, if I need to.. Not the most transparent, but it seems to make them "there", if that makes anysense |
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Post by Guitar on Sept 10, 2015 19:38:45 GMT -6
I still have some old Symmetric SX206s and 525s in my "never gets used" rack.. I've heard some guys love them on acoustic guitars and I've been thinking of trying them out in that application. I use my 525's on acoustic routinely, if I need to.. Not the most transparent, but it seems to make them "there", if that makes anysense Makes sense to me. I feel like fitting a compressor to a track is like tailoring a suit to a full grown man. It's always going to be a little different and some things just seem to fit right. I think getting that balance right is a big part of completing a mix a lot of the time. |
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Post by rocinante on Sept 10, 2015 22:19:59 GMT -6
Those 560s are damn affordable. I've had my 160xt's for so long though I dont know if I'll ever sell them.
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ericn
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Post by ericn on Sept 11, 2015 6:20:44 GMT -6
Those 560s are damn affordable. I've had my 160xt's for so long though I dont know if I'll ever sell them. Exactly my thought ! |
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Post by Ward on Sept 11, 2015 6:36:54 GMT -6
I still have some old Symmetric SX206s and 525s in my "never gets used" rack.. I've heard some guys love them on acoustic guitars and I've been thinking of trying them out in that application. I use my 525's on acoustic routinely, if I need to.. Not the most transparent, but it seems to make them "there", if that makes anysense Yes, that makes perfect sense and one of the main three reasons we use compressors! 1. Dynamic control 2. Tone 3. Presence. |
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Post by svart on Sept 11, 2015 6:59:02 GMT -6
I use my 525's on acoustic routinely, if I need to.. Not the most transparent, but it seems to make them "there", if that makes anysense Yes, that makes perfect sense and one of the main three reasons we use compressors! 1. Dynamic control 2. Tone 3. Presence. I wouldn't say they have a tone, like an 1176 does, but I think the way they automatically react to the transient and body of an acoustic seems to work for me. It doesn't sound great solo'd but in the mix they seem to make the acoustics stick out a bit in the mix without a lots of fuss, so I'd say it gives it presence, but without any significant tonal change. |
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Post by EmRR on Sept 27, 2015 19:36:56 GMT -6
When I had RNC's, I experimented with soldering various size caps directly to a TRS connector to create a 6dB/oct hpf in the side chain, until I found one I liked and then generally left it plugged in at all times. found a pic:  |
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Post by jazznoise on Sept 28, 2015 5:10:15 GMT -6
As we say here - 'deadly'! Gonna try this out when I get home, been working at a local festival the last few days.
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ericn
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Post by ericn on Sept 28, 2015 7:14:37 GMT -6
When I had RNC's, I experimented with soldering various size caps directly to a TRS connector to create a 6dB/oct hpf in the side chain, until I found one I liked and then generally left it plugged in at all times. found a pic: Was just thinking , simply grabbing a cheap crossover and using it in the loop! |
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Post by EmRR on Sept 28, 2015 12:18:22 GMT -6
Yeah, why not?
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Post by robschnapf on Dec 8, 2015 11:27:54 GMT -6
I like the old DBX 164 with the more slider.
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Post by noah shain on Dec 8, 2015 12:19:49 GMT -6
RNL. Nothing like it.
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Post by jimwilliams on Dec 8, 2015 12:51:05 GMT -6
In short. Not anymore. I used to have racks of specialized coloring crayons, some of which were compressors. I was hybrid before that had a name.  Going the other way. Clean. Crystal. Because I turn on modern recordings and just hear this heap of filth all over everything. I want pop/rock music produced like modern jazz is....clean and rich and open. Welcome back from "the dark side". I also am fatigued from dirty recordings. That gear doesn't impress me, great artists do and that stuff gets in their way. |
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Post by Deleted on Dec 9, 2015 2:20:26 GMT -6
If i should buy or recommend a compressor for tracking right now for below 300 Euros, it would be the Fredenstein V.A.S..
The Pre turned out to be very good value for the money and sounds really nice for tracking to my ears.
The Comp from the same series is a FET-compressor with a DOA-driven tranformered output. I really liked it's qualities already in the pre, and it would nicely fit both into one rack unit height as a recording chain. The compressors have even sidechaining and stereo-linking, and if they are anything like the pre, they have very nice hardware in excellent build quality. I was impressed for the price, i think they have very good QM/QA at even Fredensteins cheapest series.
The corresponding units for 500 rack are the Artist series.
The MJUC is very good value for the money, it is insanely good and still versatile, so you basically you get several flavours of surprisingly hardware-like vari-mu for near to nothing. Best thing i used yet ITB.
For a nice versatile channel and bus compression i use and am very happy with the stock Harrison Mixbus ones. The ones in the Mixbus 3 even are more versatile and they offer great value, they can be limiter, compressor or leveler, there is one sidechaining bus now and they have a better limiter in the master bus than the previous (i.e. the previous was not able to really brickwall but had probs with inter-sample peaks not detected. I did not check it, but it is said it works better now.
For under 80 bucks you get them, excellent Harrison32 EQs and filters and a very nice tape emulation. Wtf, this is really good value for the money and the whole console emu is fantastic. Became even more useful now it can host vst's and does midi. The audio editing appears also much more stable than in the V2. If you need a ditigal style ITB comp/limiter try the Yohng W1 which started as an L1 clone and implements now even some L2 features. Great stuff every bit as good as the Waves approach.
(unfortunately only vst/AU/rtas, he is not willing to invest in the license for building AAX for freeware, which i can understand).
Great ITB compression for free or little money. If i need other flavours ITB for like no money i use the vladg sound stuff und the Variety of Sound a.k.a. Bootsie's stuff. All sounds awesome for free, Density and Tesla are a must to download. I also use his EQ stuff on occasion, sounds as good as any commercial stuff.
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Post by rowmat on Dec 9, 2015 2:35:13 GMT -6
4x Aphex 651 Expressors & 2x Aphex 661 Expressors.
The 651's are mainly used as peak limiters when tracking.
Fast attack and release with a fairly high threshold.
Most of the time they aren't doing all that much and are there just to avoid clipping the converters which they manage to do quite invisibly.
The more character type comp/limiters are generally used during mixing.
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Post by Deleted on Dec 9, 2015 2:52:47 GMT -6
Interesting and great times for audio engineers, actually.
I just thought you can get a great recording chain and a good DAW and everything you would need to make a classy to great mix for like 450 bucks plus interface and microphone. This is insane if you compare to what it costed in the 80s or 90s to have a nearly acceptable recording chain, it's nearly obscene...
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Post by tonycamphd on Dec 9, 2015 7:58:27 GMT -6
4x Aphex 651 Expressors & 2x Aphex 661 Expressors. The 651's are mainly used as peak limiters when tracking. Fast attack and release with a fairly high threshold. Most of the time they aren't doing all that much and are there just to avoid clipping the converters which they manage to do quite invisibly. The more character type comp/limiters are generally used during mixing. wow, only six.... sigh.... I have 7-651's haha, JW modded, they are really perfect for invisible, and can really do some seriously controlled time based shuckin and jivin without demanding all of the attention. |
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