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Post by smashlord on Sept 14, 2023 9:51:48 GMT -6
Yeah, I was always quite keen on the Splice MK2. But it's one of those compressors I know a few people who have bought and sold, because they couldn't gel with it. On paper it's a great idea and super flexible but I'm not certain I'm convinced by it's modern take on a 76's tone. Still, I've not totally dismissed it because given my list of wants it's the closest fit and basically ticks all the boxes! IMO, it nails what it's trying to do. When I got my first one, I directly compared it on a variety of sources to a vintage Rev D UREI with a colleague. We preferred the Splice's blue mode to the UREI on just about every source and felt the Black mode on the Splice was on par with the UREI. At first we slightly preferred the UREI vs the black mode on the Splice (felt it was smoother on bass) until we released the release on the Splice was faster when the knobs were at the same positions.... whether this is the design of the Splice or more likely, some drifting component in the vintage unit, when we slowed the release on the Splice we could get it to do what the UREI did. The ONLY thing I feel the Splice does not do exactly like a vintage unit is ABI. It sounds like the release is much faster. Slowing it can definitely get you closer, but the SLAM mode isn't quite the same. In terms of "box tone", it's honestly my favorite in my arsenal. The build quality, fit and finish is also second to none. I also am a big fan of the "additional revisions" you get by combining the modes. The BLUE in and BLACK out is fantastic on bass. |
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Post by thehightenor on Sept 14, 2023 17:03:18 GMT -6
Yeah, I was always quite keen on the Splice MK2. But it's one of those compressors I know a few people who have bought and sold, because they couldn't gel with it. On paper it's a great idea and super flexible but I'm not certain I'm convinced by it's modern take on a 76's tone. Still, I've not totally dismissed it because given my list of wants it's the closest fit and basically ticks all the boxes! IMO, it nails what it's trying to do. When I got my first one, I directly compared it on a variety of sources to a vintage Rev D UREI with a colleague. We preferred the Splice's blue mode to the UREI on just about every source and felt the Black mode on the Splice was on par with the UREI. At first we slightly preferred the UREI vs the black mode on the Splice (felt it was smoother on bass) until we released the release on the Splice was faster when the knobs were at the same positions.... whether this is the design of the Splice or more likely, some drifting component in the vintage unit, when we slowed the release on the Splice we could get it to do what the UREI did. The ONLY thing I feel the Splice does not do exactly like a vintage unit is ABI. It sounds like the release is much faster. Slowing it can definitely get you closer, but the SLAM mode isn't quite the same. In terms of "box tone", it's honestly my favorite in my arsenal. The build quality, fit and finish is also second to none. I also am a big fan of the "additional revisions" you get by combining the modes. The BLUE in and BLACK out is fantastic on bass. Thanks for that feedback. Do you use your Splice Mk2 for mixing or tracking? |
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Post by smashlord on Sept 14, 2023 19:51:30 GMT -6
Both. Track/mix vocals and bass quite a bit through them and often use them for drum parallel, where they excel. I have the 500 series, btw.
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Post by thehightenor on Sept 15, 2023 4:32:30 GMT -6
Both. Track/mix vocals and bass quite a bit through them and often use them for drum parallel, where they excel. I have the 500 series, btw. I mix entirely ITB at the moment except for some hardware Thermionic tube EQ and Thermionic vari MU compression on my stereo mix bus (so a mini hybrid set up) So I'm questioning the benefit of buying a hardware 1176 until I'm mixing hybrid with channels too (when I have more spare time for that approach) I seem to get the strong impression 1176 is mainly but exclusively a mixing processor due to it's strong footprint. |
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Post by niklas1073 on Sept 15, 2023 4:48:51 GMT -6
Both. Track/mix vocals and bass quite a bit through them and often use them for drum parallel, where they excel. I have the 500 series, btw. I mix entirely ITB at the moment except for some hardware Thermionic tube EQ and Thermionic vari MU compression on my stereo mix bus (so a mini hybrid set up) So I'm questioning the benefit of buying a hardware 1176 until I'm mixing hybrid with channels too (when I have more spare time for that approach) I seem to get the strong impression 1176 is mainly but exclusively a mixing processor due to it's strong footprint. I must say my personal experience and approach is mixing 100% (except vari mu mixbus compression as you have) itb but always tracking thru hw pre and compression. Just looking at it subjectively from my point of view, this workflow has given me the best result sound wise and the hustle-less ease and flexibility of itb mixing. I would also dare to say there is either a 1176 or La2a hw clone on almost every track I lay down. And I have never felt the 1176 would leave too much of an footprint. It has a sound and character for sure. Once getting used to the quality and identity of the tracks before the itb-phase begins I would have a hard time achieving the same outcome I believe. |
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Post by thehightenor on Sept 15, 2023 8:11:20 GMT -6
I mix entirely ITB at the moment except for some hardware Thermionic tube EQ and Thermionic vari MU compression on my stereo mix bus (so a mini hybrid set up) So I'm questioning the benefit of buying a hardware 1176 until I'm mixing hybrid with channels too (when I have more spare time for that approach) I seem to get the strong impression 1176 is mainly but exclusively a mixing processor due to it's strong footprint. I must say my personal experience and approach is mixing 100% (except vari mu mixbus compression as you have) itb but always tracking thru hw pre and compression. Just looking at it subjectively from my point of view, this workflow has given me the best result sound wise and the hustle-less ease and flexibility of itb mixing. I would also dare to say there is either a 1176 or La2a hw clone on almost every track I lay down. And I have never felt the 1176 would leave too much of an footprint. It has a sound and character for sure. Once getting used to the quality and identity of the tracks before the itb-phase begins I would have a hard time achieving the same outcome I believe. Agreed. I track with Coil and BAE Neve pre's and a Retro STA Level, LA2A and Phoenix MP compressor. So I do like to "get the sauce at the source" so to speak. But an 1176 feels like a different processor it has quite a strong unforgiving foot print ime. Perhaps I just need to get one and get used to tracking with one. |
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Post by smashlord on Sept 15, 2023 9:01:56 GMT -6
But an 1176 feels like a different processor it has quite a strong unforgiving foot print ime. Perhaps I just need to get one and get used to tracking with one. I've always looked at the 1176 as sort of the Marshall amp (as in a 1959 or 2203) of the compressor world. It has a limited range compared to other things out there, but the sound it has just works on most anything. I find it to be pretty forgiving and for tracking because its easy to set. During tracking, just don't slam it too hard on something dynamic like a vocal. I often just tap it 3db on loud peaks followed by an LA3A or LA2A and then in mixing, once it's had dynamics reigned in a bit, you can hit it pretty hard without getting obnoxious artifacts. |
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ji43
Junior Member
Posts: 67
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Post by ji43 on Sept 15, 2023 9:02:15 GMT -6
Overstayer SFE for a stereo 1176. Can be used subtlety for mastering, or really digging in. Amazing on drum bus as well.
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Post by niklas1073 on Sept 15, 2023 9:47:29 GMT -6
I must say my personal experience and approach is mixing 100% (except vari mu mixbus compression as you have) itb but always tracking thru hw pre and compression. Just looking at it subjectively from my point of view, this workflow has given me the best result sound wise and the hustle-less ease and flexibility of itb mixing. I would also dare to say there is either a 1176 or La2a hw clone on almost every track I lay down. And I have never felt the 1176 would leave too much of an footprint. It has a sound and character for sure. Once getting used to the quality and identity of the tracks before the itb-phase begins I would have a hard time achieving the same outcome I believe. Agreed. I track with Coil and BAE Neve pre's and a Retro STA Level, LA2A and Phoenix MP compressor. So I do like to "get the sauce at the source" so to speak. But an 1176 feels like a different processor it has quite a strong unforgiving foot print ime. Perhaps I just need to get one and get used to tracking with one. Yes absolutely agree it has a very specific character to it. I tracked some vocals the other day that first would blend in a little too much. Went from la2a to 1176 and it pushed the vocal in front just where i wanted it to be. So at times it really is the tool for it. Usually though I tend to like La2a as first option, but guitar cabs get the 1176 almost exclusively. |
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Post by kerryluis on Nov 7, 2023 3:41:23 GMT -6
Choosing the right gear can be a challenge, especially when you have great options like the 1176 and the LA2A. It's awesome to hear how the 1176 can work its magic on your vocals and guitar cabs. Sometimes, having the right tool for the job makes all the difference. By the way, have you ever come across the concept of a prayer for depression and anxiety? It can be a helpful way to find inner peace when making those tough decisions. Keep making that music, and enjoy the creative process! |
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Post by thehightenor on Nov 7, 2023 6:34:34 GMT -6
I decided in the end not to buy an 1176 for tracking.
For me, it's a mix tool - so until I return to hybrid channel processing I'm going to stick to software 1176/1178 at the mix stage.
At the tracking stage I have more than enough hardware tools to get the mojo I want.
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