4 or 8 channel compressors

C

cusebassman

Freakin' sweet
I've done quite a bit of searching on the topic, but can't seem to find any info in this area. I am looking for 16 channels of compression, due to the following setup:

Mics, DI's, etc. -> External mic pre's -> 2x Tascam sync'd DA-38s -> Yamaha MG32 -> Stereo Recorder

I am happy with the sound I get recording and coming out of the board, however, I need to add compression to certain tracks. Since those channels vary from song to song, I'd like to have compressors on all channels (much like I have mic pre's wired into every channel of the recorder at the moment). I have looked at a couple 8-channel compressors (The SMPro OC-8E and the PreSonus ACP-88) - just wondering if anyone has any other brands or suggestions for 8 or 4-channel compressors.

Oh yea - I don't need the "Switch to digital" suggestion - I've heard it plenty as it is! For now I am happy with working in the analog domain... I just like to have my hands on the equipment verses doing everything on my desktop I suppose.

As for price, I am looking to spend under a grand on each 8-channel compressor, however, any suggestions would be much appreciated. Thanks a lot!
 
I was going to recommend the DBX 1046 Compressor/Limiter. It's a 4 channel compressor, so you may not want to buy 4 boxes if you really want 16 channels, but it's a good box, and they're going for $449.95 on zZounds, which would hit your sub-$1k/8 channels.

http://www.dbxpro.com/1046.htm
 
Alto do a 4 and 8 channel compressor/limiter. I've got the 4 channel 1RU version, sounds ok, works as advertised.
 
I'd maybe think about getting either one 8-channel unit, or two 4-bangers, for general use, and then some separate units with different characteristics. You'll probably end up at under 16 channels with that budget, but that's what I would do. I'd rather patch things from time to time than be locked in to only one or two choices, like if I had two 8-channel units in this range. It seems limiting, when there are tons of inexpensive comps, new and used, to check out.
 
cusebassman said:
...Since those channels vary from song to song, I'd like to have compressors on all channels...
Click to expand...

Gee, I can't see that you should ever need more than 6 or 8 compressors simultaneously. You can save yourself a lot of $$$ by setting up a patch bay. Then you can insert them into any channel with minimal effort. I think most folks usually only compress vocals and maybe snare and bass guitar anyway. You could even subgroup vocals, (if you have lots,) and then compress the group.

Just trying to help.

RawDepth
 
Some excellent suggestions. I could see only needing up to 8 channels at once, so the patchbay might be the way to go. For now I will probably pick one of the 8-channel compressors and get two of the Hosa insert snakes (4 TRS male to 4 pairs of 1/4" TS) and play around to see what I will eventually need (patchbay, more variety of compressors, etc.).
I am also lookin at the Alto 8-channel suggested above... I was thinking about what to do for noise gates as well, and it comes with them installed on every channel like the ACP88 does, so I'll take that into consideration. thanks!
 
Yeah, what you need is a patchbay, not a compressor for every channel of your mixer. Having 8 compressors is not a bad idea, as if you are working with an 8 buss mixer you could then assign compressors freely to the busses as needed.

However, rather than getting 4 or 8 channels of one type of compressor, I'd suggest you get four different compressors, with two channels of each. This gives you many advantages in terms of tone and assigning compressors to tracks that suit the material.

On a budget I'd suggest something like a couple DBX 160's, an ART PRO VLA, an FMR RNC or RNLA, and then maybe a Joe Meek or Aphex Expressors. Depending on what you are looking for.
 
I would avoid the Alto compressor if you can, and even the Presonus, although if you really do go with 16 channels, the presonus could prove useful. I would stick with RNC, DBX, lower end Drawmer etc... if at all possible.

Also, look for something besides a HOSA snake or there is a good chance that your cabling will suddenly add up on you over the next little while. As for a patchbay....why? For jsut a few channels of inserts on a fairly small mixer that is easy to get at? save the money and just label the cables and move the insert cables as necessary. Otherwise you will need to buy twice as many insert cables, and two TRS patch cables per compressor channel.
 
One setup I was using for a while had 8 dBx compression in a rack (2 single channels, 1 dual-channel, and 1 4-channel). We had an 8-channel "insert" snake that was left plugged into the compressor end, and then we could just patch in the TRS end to whatever channels we needed. But this was in a live setting where the rig had to be broken down after a show. If you're building a permanent rig, and think you might expand to the point of needing a patchbay eventually, it might not be a bad idea to start with that now, but you can definetly accomplish what you're trying to do, without it.
 
Yes, both are good points. A patch bay will indeed become useful if your rig continues to grow. But if you only have a few items to insert and will never add on, then K.I.S.S. Only you can make that decision.

I have the SMPro OC8 and it is okay. It seemed like a good idea because it is an optical compressor. This type generally will not color the sound of your tracks because of the way it works. My theory was to use it only lightly at the front end. Some folks claim that it has poor build quality, but I have never observed that. I have been using it for over two years now, (for both live PA and studio work,) and have had zero problems with it. Maybe I've been lucky, I don't know.

RD
 
Yea, I was looking at the OC-8E partially because of that concept behind optical comrpessors... Im looking to use these in the recording chain, so I'd like them to be fairly transparent... if I want to apply compression to something like a guitar for sustain and such, I will get a different type of unit.

I've been looking at the dbx compressors - they are relatively inexpensive for dual-channel units. I could always add more if need be. However, I did search for Alto gear, and couldn't come up with much - are they a poor quality product, or just mid-range gear that some people are fine with, that others don't prefer? I am like anyone looking for the best possible quality for the money, but I certainly don't kid myself that if I want 8 channels of compressor (or any processor, really), that I am going to get pro-studio quality for under a grand. Thanks for all the suggestions!
 
I would not let the "science" behind a chep product sway your decision on which will be mnore useful or sound better. The fact that the SM pro comp is an "opto" comp really does not mean a t hing as to how it will act and/or sound. It's like the whole tube myth in pro audio and recording. What is however far more important than whether is optical, VCA etc... is how whatever circuit being used is implemented.

Alto and SM pro are definately low end, or budget pieces of equipment. I have no doubt that they probably are great for their price, but this does nto mean that they will compare well to even cheap DBX, which once again I consider to range from budget to midlevel.
 
cusebassman said:
I am like anyone looking for the best possible quality for the money, but I certainly don't kid myself that if I want 8 channels of compressor (or any processor, really), that I am going to get pro-studio quality for under a grand. Thanks for all the suggestions!
Click to expand...

If you are looking for transparent plus pro quality on a budget you really might want to consider getting four FMR RNC's or a couple of those and a couple RNLA's. Then, as your needs and budget dictate, add a variety of compressors beyond those for the next eight channels. But I don't think you can do much better than an RNC for a price tage of around $200.

There's a lot of different ways you can do eight channels for $1,000. A couple RNC's, an RNLA, and an ART PRO VLA. All RNC's. Two RNC's and two RNLA's. Or the approach I mentioned above, where each pair of channels is a different compressor. That's the way I've gone in my studio and I like it, I'm a big believer in having a wide selection of different compressors to choose from.

If you buy used, or a combination of new and used, there's a lot to choose from.
 
The RNC's would be a cool way to go just remember they are stereo only and not dual mono. They work well as bus compressors.

Drawmer also makes a few multi channel compressors.
 
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