compressor q's

S

SilentSound

New member
I have worked with a multiband compressor in sound forge(stinks cuz it's not real time) and an older behringer one. The behringer one screws up stereo imaging....i was condsidering using it for mastering before that.... what kind of multiband do the pros use? I like what the behringer does other than the stereo thing
 
The best compressor ever made is a vintage dbx 160. You can also get the stereo version, dbx 162. You will usually find these compressors in most major studios.
 
Gosh Fishmed, have you ever used a dbx 160??? I tell you what, in my circles, that box is a running joke. "Hey, what's the surest way to kill the sound"? ask's one soundman. "Just insert that 160 on the mix" say's the lightguy. Hahahahahaha. Well, okay, while not really all THAT funny, you get the point that when the lightguy knows that these things suck, well........

Actually, I have never seen a 160 on a major studio's equipment list, nor have I seen one in any of the "regional" facilities that I have worked in. Actually, most every engineer I have talked to agree that this box is not really worth using because it does not offer the controls (mainly attack and release) that a recording engineer would expect from a compressor. Especially a compressor that would be used on the finale mix.

Silent Sound. Try looking into stuff like Manley, GML, Crainsong, Fairchild, maybe even Drawmer if you are looking for a killer compressor for mixing through. But be aware!!! You are going to spend well over $2k for one of these boxes. But, when set right, these bad boys offer practically transparent compression that cheaper units just can't come close to.

Good luck.

Ed Rei
Echo Star Studio www.echostarstudio.com
 
Ed,
You make it sound like I said "Alesis 3630". I guess this about shoots my credibility. I am not saying this is the only compressor studios have. Perhaps they are a little more popular in studios closer to my area. They aren't that bad if you know how to use them right, and their simplicity is part of thier beauty. To be honest though, I have not used one of those high dollar compressors... just have not made it to that level yet.

PS: If you know of anyone up there that has one for sell in good condition please let me know.

[This message has been edited by Fishmed (edited 12-10-1999).]
 
Fishmed,

I am not trying to dis on your opinion. It is just that the 160 is in the league of say like a LA 2A, a set and forget compressor. While back in to 70's when these units were coming out, they were "killer", in the modern studio only "old time" engineers find much charm in these boxes. After using a Behringer Composer, they usually only use those old boxes for that "vintage" sound, which really translates into, "the client told me to use it because it was the only compressor he has ever heard of"..... :)

Even the Manley mastering compressors are kind of weak in their controls. They don't really give the engineer the kinds of parameters to effectively compress a signal. If a Threshold and Ratio knob with a fixed attack and release work for a mix or a track here and there, well then those boxes are great, if you don't mind the distorted sounding compression they give. But often, a track or a mix need a bit more control to make the compression "transparent", and that is where these compressors drop the ball.

So, I am just saying that a dbx 160 is probably not worth the investment (especially considering they are much more expensive used then they were used) unless you have a bunch of cash to burn. They are just too limited in the effective applications for the kind of money you would spend on one.

Ed
 
actually, i meant multiband...... but i am glad to hear all of your comp comments i hear the rnc's construction and components are good and the behringers are just ripoffs of drawmers....from this guy that takes stuff apart.....

multibands though, anyone??
 
Come to think of it, I would not mind having an LA 2A. I guess it is all on how you look at things. (Just messing with ya ED)

[This message has been edited by Fishmed (edited 12-13-1999).]
 
In my opinion, the best bank for buck comes from the RNC at fmraudio. It's not in the league of the 2K's mentioned above, but it's got to be near the top in the "under 1K league".

it's also WAY under 1K - $180!

Well thats my $0.02
 
i don't have the kind of money you guys are talking about for my home studio. i charge like $25/hr, so it's not like anyone is confusing me with a gold room. i use sekd's redroaster mastering (cd burning) software. it has multi-band compression. but mostly, i try to get the levels and such right before the mix, so i don't have to compress the snot out of it to make the tracks jump.
 
Yeah, Well, I don't mix with compression on the stereo bus and I get a tight, fat mix that never drops below -4 to -6. It comes out sounding nice and lookes on my vu almost like mastered stuff....difference is that it is a touch bass heavy and it's not the monitors, it justis cuz of the mics i use. I mean, i track flat and almost mix flat too. Mastered stuff also doesn't sound bassy. It has an abundane of mids i notice sometimes between 1k and 3k. This makes stuff sound louder, and there isn't an overwhelming amount of lows. when it's played on everyday stuff, thereis always some kinda preset eq with a bass and treble boost and radio stations do all kinds of crap(including more multiband compression)

oh man what am i saying anymore. I hear a multiband used lightly during the mastering process in addition to eq gives it that mastered sound. The way my stuff looks coming off the board is almost the way mastered stuff looks on there too. I assume that with a little lowcut and a touch of mid boost and then a little air....then a little cut in low mids to add clarity, i'd have a happening mix and who makes a good friggin outboard multiband!!!!!!!!
 
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