Hardware Compressor vs. Software Compressor

  • Thread starter Thread starter Bob's Mods
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Which do you like better, hardware or software Compressors

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    141
I bought an RNLA when they first came out and didn't like it at all, it sounded cheap to me. I sold it a month after I bought it. I know there are a lot of people that like the RNLA and the RNC, but I'm just not one of them. I wouldn't judge hardware versus plugin based on the RNLA is all I'm saying.
 
The hardware votes are leading by a landslide. Alot of people rave about those UAD-1 vintage compressor simulations. Do those stack up to a true hardware box? The UAD-1 is unique in that is can be sold just like hardware even though its really software. Security is not an issue with it because the DSP is its dongle.
 
Bob's Mods said:
The hardware votes are leading by a landslide. Alot of people rave about those UAD-1 vintage compressor simulations. Do those stack up to a true hardware box? The UAD-1 is unique in that is can be sold just like hardware even though its really software. Security is not an issue with it because the DSP is its dongle.
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If you go for the UAD-1 card chances are good that you'll be happy with your purchase. The emulations are very, very good and the multiple instances are a godsend. Especially if you're more of a home recorder guy.
 
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i've used an older dbx 160, 162, and i think a 165a on distorted guitars and vocals, and they're honestly pretty sweet

and seriously, there's no way that any software out there is gonna do for a bass what a vintage LA-2A can. i'm not saying that software compressors are useless, but i find that a high-grade analog compressor can do wonders to your mixes, especially if you're using different compressors on different instruments.
 
Ironklad Audio said:
i've used an older dbx 160, 162, and i think a 165a on distorted guitars and vocals, and they're honestly pretty sweet

and seriously, there's no way that any software out there is gonna do for a bass what a vintage LA-2A can. i'm not saying that software compressors are useless, but i find that a high-grade analog compressor can do wonders to your mixes, especially if you're using different compressors on different instruments.
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yeah but u need a highend compresor to get better sound... not much to say, if u have higher end compressor and a mid end recording interface you can get better sound be, mid to lowend compressor with low end recording interface... go get a UAD-1
 
dbx 160a

I just bought a dbx 160a off ebay. Its got a great reputation so I'll give a known name hardware compressor a shot and hear what it does for my tracks. The result of the poll is indisputable, good hardware compressors are the winner.
 
I don't want to rain on your parade, but the 160X and 160XT versions of that compressor sound better than the 160A in my opinion. Subtle though. Something about the older DBX compressors sounds really good to me.
 
You've used all this gear. Its your business. Thats why your so valuable to this news group. This difference between the older box and the newer box is probably not enough to loose any sleep over being that you say its subtle. Its going to be better than any of the software compressors I'm using now. You know, I have the dbx Quantum and use that for my A/D. Its got a digital type compressor but it just doesn't cut it whereas the 160 is an all analog box. The original Quantum sold for a little over 1k, now the newer Quantum 2 is selling for about 2k. They double the price and its just not worth that money. It should have a screaming compressor for that money but it just doesn't. Its seems its tough to write code that can acurately copy what a real analog compressor box does.
 
The one Problem I have had with Hardware Compressors is that they seem to add a Bit of "Hum" to the Sound...I don"t know if that is because My compressor doesn"t have a Grounded Plug or if this is common with all or most Outboard equipment but in my Case the Hum is much to loud to use it for what I want to use it for so I usually use Software Plugins of which I have several Different Types of Compressor plugins which generally give me the sound I want without adding a Hum to the Sound.....


Cheers
 
Minion said:
The one Problem I have had with Hardware Compressors is that they seem to add a Bit of "Hum" to the Sound...I don"t know if that is because My compressor doesn"t have a Grounded Plug or if this is common with all or most Outboard equipment but in my Case the Hum is much to loud to use it for what I want to use it for so I usually use Software Plugins of which I have several Different Types of Compressor plugins which generally give me the sound I want without adding a Hum to the Sound.....


Cheers
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Hmmm, all my compressors have a grounded plug, and don't add any "hum", they may make hum from amps more apparent, but so will a software compressor.
 
Wel My Hardware Compressor doesn"t have a Grounded plug so maybe that is why I am getting that Bad Hum....

Is there a way I can take the Old Non-Grounded Plug and Put in a Grounded one?? Would I just attach the Ground to the Metal caseing of the Compressor??

I have to open up the Compressor anyways because I have to clean out the Pots as they are quite scratchy when I turn them so I can attach the Grounded plug at that time.....

ThanX
 
My results

Well, for my results. I got the dbx 160a yesterday and have done a demo with it. I recorded the same demo tracks for three devices, the dbx Quantum compressor (this is a digital comp in a rack), the dbx 160a and uncomp'd tracks to use with my Kjaerhus Golden Compressor (analog modeled plug).

Hands down.....my favorite is....the 160a by a long shot. A quality, analog hardware compressor beats the digital versions. The demo sounds, natural, smoother, more accurate as compared to the others. For six years I've used various digital compressors and have never had the experience of working with a true quality studio grade analog comp. As a result my stuff never sounded totally right to me.

I suspect what accounts for the difference is that digital compressors are not as clinical in their output as we would think. To code an analog accurate compressor is an extensive undertaking. Its not an easy task. Whats easy for those transisters and caps to do is tough for a code writer to model accurately. There is just so much going on inside an analog hardware compressor that it is very difficult for pure code writers, who may not have deep understanding of acoustics, analog electronics and a detailed working knowledge of compressors, to get it right. I'm guessing its tricky to write good compressor code.

I would call the output of the dbx "accurate" whereas the digital comps just don't seem to be able to smoothly deal the dynamics. The digital comps are just not handling the audio as well as the 160a.

The best analog modeled compressor code appears to be the UAD-1 versions. I suspect that UA invested alot of time and money to develope those software eqivalants. They came into the game with a deep knowledge of those analog boxes because they designed them. They must of gotten a top shelf code writing team to pull this project off.

It seems that a quality analog compressor can help one attain a more high end studio sound even if the rest of the gear is so-so.

Bob
 
Both

I personally have a couple of the old Joe Meek VC 1's which I really like.

I usually record through those into my Nuendo prog with a little compression, just a little, and then hopefully I won't need more on mixdown because I've already got enough, but if I do, I'll use the software. I mainly record acoustic instruments which I try to use as little as possible on as I really like to hear the dynamics of the performance, but sometimes you just need it, especially on double bass.
Compression is one of those things that if I can hear it happeing, I don't like it. I don't like the instrument to be choked, I just want it to sound even.

Is this how most people feel? I'm curious as I've never really studied the art of using compression or talked to anyone about it.
Is there any kind of formula that people use to get the right amount, attack, release etc.
I just mess with it until it sounds good to me.
 
Minion said:
The one Problem I have had with Hardware Compressors is that they seem to add a Bit of "Hum" to the Sound...I don"t know if that is because My compressor doesn"t have a Grounded Plug or if this is common with all or most Outboard equipment but in my Case the Hum is much to loud to use it for what I want to use it for so I usually use Software Plugins of which I have several Different Types of Compressor plugins which generally give me the sound I want without adding a Hum to the Sound.....
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There could be a couple reasons for that hum.

One, the hum could be in your system to begin with, and the compressor is just making you more aware of it.

Or two, the compressor itself could not be grounded properly or could be experiencing interference from other gear nearby. Or the cables could be running alongside equipment that is cuasing the hum.

In either case, the hum is caused by a flaw in your setup or equipment, and is not something inherent in compressors. It is quite possible to use analog compressors and have no hum.

One unfortunate thing that has happened because of DAW's and plugins is that people have lost touch with how to deal with issues like hums, buzzes, and noise floor. Digital is *so* quiet, and so easy to set up without having to deal with noise issues, that it is easy to forget how much care has to be taken to get analog sounding its most optimal.

For a while I had an all digital studio and got used to the ease of that, as far as noise floor. When I went back to a hybrid analog/digital setup the first thing I noticed was the noise floor. I felt the only step backwards was having to deal with that again.

So I would suggest really trying to get rid of that hum. Pay special attention to how the cables are run, that they are the right cables, where the gear is sitting, making sure everything is properly grounded, making sure there aren't dimmers or other household appliances on the same power circuit. The list goes on and on!
 
ThanX for the Info But I believe In my Case it is the Compressor it"s self that is Causeing the Humm as it isn"t Grounded and my recording setup is Totally Silent without any Noticeable Humm untill I connect the Compressor to the Chain....I wanted to use it as an Insert on my Mixer but the more effect Mix I add the more Humm I get, I guess you can not expect much for a $15 Compressor....
I"ll probably just gut it for Parts unless I can Fix the Grounding Issue...

ThanX

PS: It is a Crappy Compressor anyways(Yahama 2020)
 
Wow, how did I manage to miss this thread?!

I'm still surprised at how even my lowly 166a kicks the snot out of most of the plugs I have in Pro Tools. The 160xl sounds even better on the sources it sounds good for (usually rock vocals and bass). And I still wish I had an RNC or RNLA for every channel on my mixer- I fantasize about buying a bunch and mounting them vertically in my rack....

It depends on what's needed, though. I tend to reserve the relatively few channels of hardware compression I have for stuff it sounds best on and you hear more of. What's left over gets plugin compression, if needed. Mixing analog gives me the best of both worlds that way and I really miss the hardware when I have to mix in the box.

Its all a matter of preference, anyway. I've heard some pretty darned good recordings that were tracked though a decent but inexpensive front end, mixed with only Digi's stock plugs (barf!) and lightly touched by a Behringer Tube Compressor (vintager series) on its way to a masterlink. I was shocked to see the guy's setup, but I had been listening to his recordings for over a year and lonving them...

Take care,
Chris
 
Minion, I guess you bought a $15 hum machine! :D

Don't judge all compressors by the one you have, though. If you ever have a couple hundred dollars to spend, take a look at the RNC and RNLA, made by FMR. Probably the best in that price range of the new units. If you buy used, then there are some other choices as well.
 
I think that it's wrong to say that one is better or preferable. the answer is very simple - every plug or hardware got its own character and one can't replace the other.

Think about the fact that many of the most popular artist today are using "plug-ins" in their audio chains and create absolutly great sounding music. it's all depands on the style and genre you are recording.

The best thing to do is to experience as many hardware and software compressors as you can, and finally when the moment of truth arrives pick up the best sounding gear for the specific recording you are handling.
I personally won't go to any studio that have only hardward compressors or only plug-ins.

Hope that helps :)
 
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