A
acorec
Banned
Nick The Man said:
Save up and buy a RNC. DBX never made anything worthwhile after 1980.
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Save up and buy a RNC. DBX never made anything worthwhile after 1980.
E
endodoc
New member
Experience with dbx compressors
For classical music location recording I have been using a Grace 201 preamp with a dbx 162sl compressor for main stereo mics. I also use a Sytek 4 channel preamp with a dbx 1046 compressor for additional tracks. The 1046 is a very adequate workhorse compressor. It can be used as a 4 mono channel unit or as 2 stereo pairs. The 162sl is a major step up. The 162sl has the option of very fast attack for transients as well as the safety of an unobtrusive limiter for those unexpected peaks. I have found the 162sl to be very transparent.
For classical music location recording I have been using a Grace 201 preamp with a dbx 162sl compressor for main stereo mics. I also use a Sytek 4 channel preamp with a dbx 1046 compressor for additional tracks. The 1046 is a very adequate workhorse compressor. It can be used as a 4 mono channel unit or as 2 stereo pairs. The 162sl is a major step up. The 162sl has the option of very fast attack for transients as well as the safety of an unobtrusive limiter for those unexpected peaks. I have found the 162sl to be very transparent.
B
Bob's Mods
New member
Depending on your situation and how you like to work, input compression in a 24 bit world is no longer a requirement. If you have an analog hardware compressor you like, then use it. There is ample headroom in 24 bit for anything you wish to record. Software compressors tend not to have exactly the same response and color of the hardware they are supposed to simulate, but they make up for that by being able to tweak the mix after everyone has gone home. There is also the option of running the signal through your hardware later too.
Where I record only one track at a time, I like to record them with no compression, EQ or effects but add them later at the mixing stage where I am better able to tweak. Input compression and limiting was a requirement in the tape and 16 bit days. With 24 bit you have much more breathing room. If you peak out, just lower your input gain.
Where I record only one track at a time, I like to record them with no compression, EQ or effects but add them later at the mixing stage where I am better able to tweak. Input compression and limiting was a requirement in the tape and 16 bit days. With 24 bit you have much more breathing room. If you peak out, just lower your input gain.
T
travelin travis
New member
So I don't need a compressor for tracking my bass and acoustic guitar if I'm running into a 24 bit card?
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EleKtriKaz
Home (w)Rec'r
TravisinFlorida said:So I don't need a compressor for tracking my bass and acoustic guitar if I'm running into a 24 bit card?
That's not really what they're saying.
Nothing is going to replace the sound of an 1176, LA2A, 1178, Distressor, etc...
In the 24 bit realm there isn't as much need for traditional compression use. With digital you can easily add compression at whatever stage you want as is necessary for the mix, but again, it's difficult to emulte those classic outboard compressors.