Are the dbx or Behringer outboard compressors worth a бÒà for vocals?

Eleanor Fudd

Eleanor Fudd

Member
Serious compressors are $$$. I'm wondering these cheap critters would work on light-to-medium
vocal compression.
Thanks.
 
I have a 266xl and a mc6 mini comp from the 90s and they both sound great on vocals. The mini comp also has an instrument level switch which makes it perfect for use as direct box for bass or guitar. I really like it on bass. Both of these compressors are supposed to be based on the old 160 and they are older models so they could probably found for not too much investment. I've heard of mini comps going for 50 dollars
 
I'm with BSG. I'm a hardware nut - But it's gotta be decent hardware. Especially if it's taking a trip back out through the garden.
 
Speaking of which, if you're not going through the garden it means you're going through the front door. There are a few good reasons for tracking with compression. Savings in time, the difference between the sound of the hardware versus plugins, and especially the idea that if you record agressively and print your effects, you can tie the mix engineer's hands. If you know exactly how you want things to sound while tracking and work this way, you're painting things into a corner with a much smaller set of variables. So if you're going to track and mix, you're going to tie your own hands. I'm not sure this is a good way to learn compression. If you can hear exactly what you're doing and have the confidence that it's exactly what you want, that's fine. If not it's easy to screw it up and then it can't be undone.

If you're trying to learn compression I would track dry and run plugins. Start with the stock plugins in your DAW and then move on to some freebies. Play with them. Abuse them. Smash the vocals to oblivion. Make them distort. Make them pump. As you learn how these things sound your ears will become more sensitive to subtle (& probably more suitable) amounts of compression.

The plugin workflow isn't quite the same as with hardware but the end results can be very similar. Sometimes people will run 2 or 3 instances of a plugin in series, maybe with an EQ or 2 tucked in before or after. This can help to get the desired crush without a bunch of unwanted artifacts. Another popular thing to do is run a layer of volume automation before hitting the compressor. Being more conservative about it also allows you to run gain plugins or whatever you need to audition the compression and flip back and forth between "on" and "bypass", which has to be done at the same percieved volume level. Depending on the track and the goal, sometimes the best compression is none.
 
I was using one of these for a few years on vocals.... FMR Audio RNC
The suggested ART Pro VLAII is supposed to be a decent compressor for the money also. I do have a Behringer compressor in my rack, but can't remember the last time I used it.

Good overview on the FMR RNC.....

 
I have a friend who is selling an FMR RNC and they are great units. Not sure what he's asking but can find out if interested. In fact, he is selling most of his outboard gear.
 
Id call the DBX and Behringers a compressor you worry about making the track worse.
The key to these is probably low ratio and keeping them invisible to where you cant hear them.
Invisible is the goal.

If you start cranking it up its muck and blurr, imo. I agree the good stuff is expensive. My good stuff I tried was great but I couldnt justify it for money reasons and my needs/usage. The Plugins got closer to the Great Gear than the cheaper outboards did, ymmv.

I sold my "invisible" tracking comps and just made sure I dont clip by turning down the volume/gain.

I didnt think the DBX sounded any worse than the RNC, Behringer and others. If set low I couldnt even hear it.
fast attack, fast release at 2:1, 3:1....peak police!
invisible.
 
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