Purchased ADL600.
- Thread starter moelar2
- Start date
http://www.anthonydemarialabs.com/products.html
Check out what he has to offer. Some really great stuff in there.
Check out what he has to offer. Some really great stuff in there.
BigRay
New member
SonicAlbert
Super-Sonic "Herb" Albert
As far as Manley, they make great gear, but don't go based on the name only. I bought a Vari-Mu a while back and really wasn't crazy about it, so ended up selling it shortly thereafter. Quality gear but it just didn't do it for me. A lot of people love them though, so it's definitely a "mileage may vary" kind of scenario.
I haven't used a UA compressor, so I can't comment on it. I do own their 2192 converter, and I think it sounds wonderful. For whatever that's worth.
The thing about most opto compressors like the ADL 1500 is that there is little control over ratio, attack, release. My feeling is that for your first "good" compressor it's a great idea to get a unit that is all-purpose and quite versatile. That was part of my thinking in the recommendations I made earlier. So you want multiple ratios, attack and release controls, plus the usual input and output gain makeup controls.
But an opto might be just what you are looking for as far as sound. Just be aware that the opto compressor is a very different beast from some of the others we are talking about.
I haven't used a UA compressor, so I can't comment on it. I do own their 2192 converter, and I think it sounds wonderful. For whatever that's worth.
The thing about most opto compressors like the ADL 1500 is that there is little control over ratio, attack, release. My feeling is that for your first "good" compressor it's a great idea to get a unit that is all-purpose and quite versatile. That was part of my thinking in the recommendations I made earlier. So you want multiple ratios, attack and release controls, plus the usual input and output gain makeup controls.
But an opto might be just what you are looking for as far as sound. Just be aware that the opto compressor is a very different beast from some of the others we are talking about.
Is it too late for my .02? lol.
Behringer BAD!
As for the XLR to TRS situation, I promise you that if you spend the coin (or many coins as the case may be) to get some Zaolla cables (XLR-TRS) you will be SHOCKED at the pristine quality of the sound. I kid you not they will actually improve the sound of the pre. They are made of pure solid silver (which happens to be the very best conductor of audio) Find a Zaolla dealer (they are a division of Hosa) and ask them to let you A/B a normal cable to a Zaolla cable on a guitar or something, you WILL hear a difference.
Which brings us to the compressor problem.
If you cannot afford a Universal audio 1176, I would say go with a DBX 160a. Believe it or not some times, for some tracks you will actually choose the 160a over an 1176 if you had both. Many studio's use 160's everyday even though they also have 1176's, LA-2A's, Manleys, Neves, and Pultec's OH MY! The 160 isn't perfect for everything, but no compressor is! The 160 is a very smooth and pro sounding warm compressor and can be had for under $500 anywhere brand new and less for a used one on ebay. I will say that, I will always choose the 160 over an 1176 on bass guitar every time. But the 1176 is in my humble opinion, the best overall compressor ever built on most sources. I prefer the LA-2A, or a Manley for vocals most the time though.
Who am I kidding I want two of EVERTHING!!!
lol.
Hope this helps!
(ok, if you can't afford the 160a, I picked up some ashly cl-100's on ebay a while back for CHEAP! and they sound AMAZING! I was going to keep that to myself, they are my secret weapon! shhhhh, don't tell anyone,............else lol)
Behringer BAD!
As for the XLR to TRS situation, I promise you that if you spend the coin (or many coins as the case may be) to get some Zaolla cables (XLR-TRS) you will be SHOCKED at the pristine quality of the sound. I kid you not they will actually improve the sound of the pre. They are made of pure solid silver (which happens to be the very best conductor of audio) Find a Zaolla dealer (they are a division of Hosa) and ask them to let you A/B a normal cable to a Zaolla cable on a guitar or something, you WILL hear a difference.
Which brings us to the compressor problem.
If you cannot afford a Universal audio 1176, I would say go with a DBX 160a. Believe it or not some times, for some tracks you will actually choose the 160a over an 1176 if you had both. Many studio's use 160's everyday even though they also have 1176's, LA-2A's, Manleys, Neves, and Pultec's OH MY! The 160 isn't perfect for everything, but no compressor is! The 160 is a very smooth and pro sounding warm compressor and can be had for under $500 anywhere brand new and less for a used one on ebay. I will say that, I will always choose the 160 over an 1176 on bass guitar every time. But the 1176 is in my humble opinion, the best overall compressor ever built on most sources. I prefer the LA-2A, or a Manley for vocals most the time though.
Who am I kidding I want two of EVERTHING!!!
lol.
Hope this helps!
(ok, if you can't afford the 160a, I picked up some ashly cl-100's on ebay a while back for CHEAP! and they sound AMAZING! I was going to keep that to myself, they are my secret weapon! shhhhh, don't tell anyone,............else lol)
Hollowdan - never too late for good info. I had a recording session lined up for today so I couldn't wait to shop around for cable and I went with good ol' monster cable. I only paid $45 for two XLR - TRS 6ft, which is not bad considering Monster's absurd prices. I'm such a douchebag though because I have about 100' of Mogami cable!! I'm just too lazy to make cable. Taking out the solder gun is such a freakin' mission. And I'm lazy (did I mention that?).
I'll be frank, bob, my ears are not as sharp when it comes to compression. My mentor always told me that compression is well applied when you can't tell its there (meaning you can't hear the breathing). That much I can handle. But my ear is not trained enough with compression to be able to really appreciate its different colorations.
I'm likely gonna pick up a 166 for now. My buddy has two of them. I'll borrow one and see how it goes...
I'll post my drum tracks soon. Actually I'll probably just wait and post the entire song once its done; probably in 3-4 days. I go back to law school next week, so I'm trying to get as much recording in as possible.
I'll be frank, bob, my ears are not as sharp when it comes to compression. My mentor always told me that compression is well applied when you can't tell its there (meaning you can't hear the breathing). That much I can handle. But my ear is not trained enough with compression to be able to really appreciate its different colorations.
I'm likely gonna pick up a 166 for now. My buddy has two of them. I'll borrow one and see how it goes...
I'll post my drum tracks soon. Actually I'll probably just wait and post the entire song once its done; probably in 3-4 days. I go back to law school next week, so I'm trying to get as much recording in as possible.
SonicAlbert
Super-Sonic "Herb" Albert
The most obvious differences are that the 160 is single channel and has no gate, while the 166 is dual channel and has a gate. I personally like the vintage versions of these compressors. So that would be the 160X or the original 166 from the 70's and early 80's. I own a 166 that I believe was built in the late 70's and it sounds good. I also use a couple DBX 903 modules, which are similar to 160XT's.
If I was buying a new DBX, I'd probably stick with the 162SL. But that is of course much more money than a 160A.
If I was buying a new DBX, I'd probably stick with the 162SL. But that is of course much more money than a 160A.
Ok...
I just spoke to my friend who actually has dbx1066 and a 266xl (and not 166's as i thought), both of which he's willing to sell to me.
Also, I've found both the 160x and the 166 for under $150.
I've used both of my friend's compressors, and I remember really liking them, but I used them with a tape machine (Tascam MRS-16) which involves other variables.
So the question is: If I can choose between buying 160x, 166, 1066, or 266xl, which one should it be? I'm not as interested in the "functional" differences as I am in the sonic difference. As long as they compress (which they all do), I'm happy. I'm not crazy about gates, so if they don't have them, that's not a "disadvantage" that is worth considering.
Thanks for your help.
I'll take for granted that ANY of these units are worlds of improvements over the Behringer.
I just spoke to my friend who actually has dbx1066 and a 266xl (and not 166's as i thought), both of which he's willing to sell to me.
Also, I've found both the 160x and the 166 for under $150.
I've used both of my friend's compressors, and I remember really liking them, but I used them with a tape machine (Tascam MRS-16) which involves other variables.
So the question is: If I can choose between buying 160x, 166, 1066, or 266xl, which one should it be? I'm not as interested in the "functional" differences as I am in the sonic difference. As long as they compress (which they all do), I'm happy. I'm not crazy about gates, so if they don't have them, that's not a "disadvantage" that is worth considering.
Thanks for your help.
I'll take for granted that ANY of these units are worlds of improvements over the Behringer.
SonicAlbert
Super-Sonic "Herb" Albert
160X, no question. The 1066 and 266 are budget models, I personally would avoid them.
If the 166 is the original unit, the vintage one, then that would be the one to get if you need two channels (or a second 160X). I used to own the 166A, the newer version, and I don't think it has quite the mojo of the older unit.
The 160X and vintage 166 will be better, no question. Worlds better would be the list I gave you earlier in this thread. There's no free lunch.
If the 166 is the original unit, the vintage one, then that would be the one to get if you need two channels (or a second 160X). I used to own the 166A, the newer version, and I don't think it has quite the mojo of the older unit.
The 160X and vintage 166 will be better, no question. Worlds better would be the list I gave you earlier in this thread. There's no free lunch.
faderjockey
New member
Well i'd be happy for you if you would have been smarter and went 160X.. If you can find that for a $150. then you should have jumped on it...
That is a pro unit. I've seen them go for double that price.
I have a 160VU I use all the time...But i love the 160X as well.
That is a pro unit. I've seen them go for double that price.
I have a 160VU I use all the time...But i love the 160X as well.
faderjockey - I was under the impression that the 166 was the two channel versino of the 160. I guess I based that on sonicalbert's statement: "If the 166 is the original unit, the vintage one, then that would be the one to get if you need two channels (or a second 160X)."
At any rate, if I was wrong in my assumption, it sounds like the unit is still decent. Worst case scenerio, if after listening it doesn't sound good, I lost $100. One less night at the bar.
At any rate, if I was wrong in my assumption, it sounds like the unit is still decent. Worst case scenerio, if after listening it doesn't sound good, I lost $100. One less night at the bar.
faderjockey
New member
Well the original is the 160VU I have...Which is a two space unit. The 160X was if I remember the first or second after the 160 which both are single space rack units..
The 160X has the VCA color of the 160VU and the bite..it sounds a little different. But I like it. I like the 160X over the 160a and the 166.
The 160X has the VCA color of the 160VU and the bite..it sounds a little different. But I like it. I like the 160X over the 160a and the 166.