Difference between opto and vari-mu compressors

C

chris-from-ky

New member
Hi! I was wondering if anyone could give me a lesson on the differences between an opto-compressor and a vari-Mu compressor. What makes them different? Is one type better than the other? What's the general concensus?

Thanks!
 
Just enter "Difference between opto and vari-mu compressors" in the google search engine and you'll find out plus more than you'll ever want to know about. :cool:
 
Opto's are kewl. They're warm. And punchy. VCA's are clinical-sounding. Booo!


i kinda second that


got a joemeek opto compressor and mhhhh, i love the sound,
compare it with my TC electronic triple C (with socalled tube simulation)
and wow,,,,,, the VCA compressor (the TC electronics that is) really sounds clinical compared to the JoeMeek

i like it warm and punchy
 
It's just like with anything else, Crappy VCA's are crappy. Good ones are good. The three different types of compressors all have their place and purpose. It is up to you to figure out what that is.
 
I know it's been almost 20 years but ffs, people are dumb. OP asked the difference between opto and vari-mu and these morons start talking about VCAs and FETs or the brilliant answer "just google it". Why tf are there audio forums in the first place, you goofball? Whoever is reading this in 2042, please don't be like these people.
Back to the question, both opto and vari-mu compressors are relatively slow compared to VCAs or FETs. The difference is optos tend to be more transparent than vari-mus which are often said to be thick, creamy, warm, colored, etc. The other two (VCA & FET) are better suited for transient-rich material like drums, electric guitar or aggressive vocals.
 
Since the thread is alive (again), my two cents about opto-compressors:

I play acoustic music with vocals, mainly, and I use two LA2A-clone opto comps.
Three reasons why I bought them, and love them:

1.
They are delightful for acoustic music, in that their very design (the photo cell sensor plus tubes) makes for smooth yet effective compression.
They don't "sound" aggressive the way solid-state comps can, unless you flatline the compression level, yet you realize they absolutely bring the tracks forward (and loudly) when you dial them up...your meters will tell.

2.
They are intuitive. Two main dials, one is compression level (I believe ratio is set at around 3:1) and the other is output to the mixer/recorder.
They are "musician's tools" in that you can try/dial things in with no effort and just listen...no ten controls to deal with, no deciding endless settings.
Mine are hardwired in right after my pres; I use them straight in as I record, and they can either compress to taste or just pass the signal through the path for some goodness.

3.
They embrace the beauty of simplicity. As mentioned, two main dials, and a set comp ratio that varies in level...that's it. They have a switch you can throw to put them in "limiter" mode, but that's as exotic as they get. They do what they do well, and if you need hard-knees, many ratios and such, optos are not for you. Mine are the AudioScape replicas (3-rack-units like the originals) with the big VU meter which you can see across the room.

BTW, I second zizjaturtle's post, re: help. If we can't be bothered to answer a question, why have the forum?
Google can't give you user experiences, tips or add the 'human touch' to what you are asking. I like to think that's why we do this here.

C.
 
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Just to stir 'it a bit...No one has mentioned "Diode Bridge"! (or indeed "Feed forward" and "Feed back" compressors)

Dave.
 
didnt the original ART voice channel get into trouble legally with their VariMu so they changed the next versions to a more common optical design?...its been so long ago.

optical compressors more common, the vari-mu not so common is it? I dont recall owning a VAriMu unless I tried the original ART CS.

+1 on joemeek's and the KT2A ..LA610...are smooth .Optical examples. I never had the big name gear the > $5000 stuff, CL1B, LA2A optical gear etc...

VariMu looking at Sweetwater, Manleys into it.
 
Cosmic said:
Since the thread is alive (again), my two cents about opto-compressors:

I play acoustic music with vocals, mainly, and I use two LA2A-clone opto comps.
Three reasons why I bought them, and love them:

1.
They are delightful for acoustic music, in that their very design (the photo cell sensor plus tubes) makes for smooth yet effective compression.
They don't "sound" aggressive the way solid-state comps can, unless you flatline the compression level, yet you realize they absolutely bring the tracks forward (and loudly) when you dial them up...your meters will tell.

2.
They are intuitive. Two main dials, one is compression level (I believe ratio is set at around 3:1) and the other is output to the mixer/recorder.
They are "musician's tools" in that you can try/dial things in with no effort and just listen...no ten controls to deal with, no deciding endless settings.
Mine are hardwired in right after my pres; I use them straight in as I record, and they can either compress to taste or just pass the signal through the path for some goodness.

3.
They embrace the beauty of simplicity. As mentioned, two main dials, and a set comp ratio that varies in level...that's it. They have a switch you can throw to put them in "limiter" mode, but that's as exotic as they get. They do what they do well, and if you need hard-knees, many ratios and such, optos are not for you. Mine are the AudioScape replicas (3-rack-units like the originals) with the big VU meter which you can see across the room.

BTW, I second zizjaturtle's post, re: help. If we can't be bothered to answer a question, why have the forum?
Google can't give you user experiences, tips or add the 'human touch' to what you are asking. I like to think that's why we do this here.

C.
Click to expand...
Will you expand on how you use two of them for the type of music you record? Do you mic a guitar and have a separate mic for vocals - and run each signal through a 2A?
 
Sure. I can do one on guitar and one on voice if I feel like recording "live" like that. It's plain fun to experiment with, even for scratch tracks.

The LA2As also have an insert connection in the back (1/4-inch plug) and when you connect the two of them together, one can 'follow; the other for if I want to record, say, an acoustic guitar in stereo.
I set the output control to the same on both units and whichever one of the two has the heavier compression dialed in, will "lead" the other unit. With a pair of ribbon mics going through the two comps, you get a lovely sound.

C.
 
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