Recommend a Really Nice Compressor for me...

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Michael Jones

Michael Jones

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... But don't say an RNC. :p

I currently use Nuendo, and all of its proprietary hardware to record. It has 2 pretty decent types of compressor in it, but I'd like to invest in rack mounted units as well. I have a special afinity for vintage front ends too. ;)

The rest of my chain is pretty top notch, I guess.

I record mostly neo-classical type of music with real instruments. (Piano, brass, woodwinds, strings)

I've looked at everything from ART to Chandler to Pendulum to Urie to Neve.
I could spend $2000, but since I really have pretty limited knowledge of out board compressors, I don't know that I would need to.

I want some flexibility for other types of music, but my main concern is a good compressor for neo-classical music.

So, given that, any recommendations?
 
Inexpensive but kick-a$$ for the price - ART Pro VLA. Even when my unit was stock, you couldn't pry it away. Used in on several classical, world, neo-classical and chamber recordings.

More expensive and kick-a$$ but (IMHO) not quite worth the extra $1400 - Avalon

John Scrip - www.massivemastering.com
 
I was hoping you'd jump in on this one MM. ;)

Thanks for the reply.
 
Is this going to be a tracking or mixing compressor? Both?

Personally, I think for tracking the RNC is great. I just picked up an Art Pro VLA myself, so I am going to see first hand what it can do. I am still very interested in the Toft Audio ATC-2. EQ that even gets Fletchers thumbs up and what sounds like a pretty good compressor. Who cares about switching the EQ after the compressor. Just compress it, print it, and then EQ it.

I have some Black Face Ashly SC-50's that don't suck. I'll PM you with some others that I can't let the cat out of the bag on.

Beez
 
Ok, had to edit this, you said classical.

Avalon is a good suggestion as would be a used Focusrite Red or Blue.
 
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ART PRO VLA on classical is a little scary. Actually a lot scary. I'll take your word for it Massive Master, because I haven't used a PRO VLA, but I haven't heard a single piece of gear from ART that I would want on a classical recording.

For classical/acoustic I'd definitely recommend going higher end. $2,000 is kind of a wierd middle ground. Not quite enough for the Manley's, Pendulum's and Crane Songs, but above the price of the lower end models. I'd recommend spending every penny of that on the best you can find for the price.

I personally am fond of my Manley VariMu with the T-Bar mod, but that's beyond your price range.

Aphex Expressors are quite good, and can be modded to be even better. I have a few of those as well, and you can pick them up relatively cheaply on eBay these days. A lot of people overlook the Expressor, but it's very clean and I think would be appropriate for classical (or neo-classical). It doesn't have quite the gorgeous tone of the Manley, but has less of a tonal signature. That might work for you and the music you are doing.
 
Massive Master said:
Inexpensive but kick-a$$ for the price - ART Pro VLA. Even when my unit was stock, you couldn't pry it away. Used in on several classical, world, neo-classical and chamber recordings.

More expensive and kick-a$$ but (IMHO) not quite worth the extra $1400 - Avalon

John Scrip - www.massivemastering.com
Click to expand...

John - I am sorry to hear that you think the Avalon is not worth the extra $1400. I have been using a 737 and a 747 for several years and find both of them to be very close to the Urei 1176s I used years ago. I have not tried out the ART Pro VLA, so now you have my curiosity up since you can get one on the street for about $350.
 
check out an aphex compellor...very very transparent. It's a class A discrete comp. They sell new for $1200 i think but you can find them on ebay sometimes for 300 to 400 bucks.
 
Yes, the Compellors are good. I have a Compellor too, and had it modded by Audio Upgrades. If you do get a Compellor, make sure it's the 320A model, which is the most recent. The Compellor is a little bit of a different animal than a typical compressor though.

If you want a standard compressor, the Expressor will give you the typical threshhold, attack, release, etc. parameters. The Compellor is more of a program oriented type processor, and is oriented toward leveling. Darn good at what it does, but really easy to overuse.

I'm also intrigued by Massive Masters enthusiasm toward the PRO VLA. The PRO VLA seems to be one of those boxes you see around a lot but nobody admits to using it. :-)
 
I'd like to set the record straight...

I love Manley, Avalon, etc., etc. Wonderful stuff. I was simply offering an inexpensive alternative. I have a modified VLA and I'm actually considering another stock unit.

When I last did a "shootout" with a few bigger buck units, it was fairly easy to tell "unit A" from "unit B" and "unit C" - Figuring out which one actually sounded better was much more difficult. Like usual, certain tracks sounded better on certain units.

There are a lot of wonderful and affordable compressors that should be tried out there. I for one, could NEVER have too many compressors. I don't care if they cost five bucks of five thousand. I'll find a use for all of them.

And yes... The Pro VLA is in an awful lot of pro racks that I know of... Many of them have the logos removed... It's cute.

That all being said, if I had to have ONLY ONE, it would probably be the Manley VariMu...

However, the VLA has a wonderful quasi-LA2A flavor to it that I just can't get enough of.

Of course, go out, try a bunch, get your favorite.
 
the Summit Audio stuff looks interesting and isn't breaking the bank
 
Michael Jones said:
... But don't say an RNC. :p

I currently use Nuendo, and all of its proprietary hardware to record. It has 2 pretty decent types of compressor in it, but I'd like to invest in rack mounted units as well. I have a special afinity for vintage front ends too. ;)

The rest of my chain is pretty top notch, I guess.

I record mostly neo-classical type of music with real instruments. (Piano, brass, woodwinds, strings)

I've looked at everything from ART to Chandler to Pendulum to Urie to Neve.
I could spend $2000, but since I really have pretty limited knowledge of out board compressors, I don't know that I would need to.

I want some flexibility for other types of music, but my main concern is a good compressor for neo-classical music.

So, given that, any recommendations?
Click to expand...


Well since you looked at the Pendulum's the only suggestion I have that isn't on your list would be Cranesong STC8. I know that your going mostly digital and most of your own material is more suited to transparency. I know you already have a few Nevealike pieces for your front end. Id go for the Cranesong first and add some Distressors later sice those 2 units alone will give you more variation than the others you mention. I think the Massive Passive is a good unit, but it might be a tad sluggish.

My 2 cents :)


SoMm
 
"...but I haven't heard a single piece of gear from ART that I would want on a classical recording. ..."
Click to expand...

I own one piece of ART gear. Its the PRO MPA DUAL MIC PRE.
I used it on the piano, flute, and french horn that you can hear here:

http://www.nowhereradio.com/artists/album.php?aid=1656&alid=-1
(The song is called "December's Mist"

The mikes for the piano were a pair of TLM 103's, and for the flute and french horn, I used an SM81.

The strings were played through a keyboard with the JV2080 sound module, and its Orchestral Expansion board.
I think it came out pretty good. :)

Because ART's target market is at the pro-sumer level, its product line often gets "ranked" into the same catagory of some agreeably lesser quality manufactures.
But my experience with the PRO MPA is, one, it definately has its limitations, and being able to recognize those limitations is key to working with that gear.
Two, if you drive this stuff too hard, push it too far, or try to get too much out of it, you'll be dissappointed. Now, I do have better pre's than the PRO MPA, but when it works... its magical!
It'll ALWAYS have a place in my rack.

I expect the PRO VLA would have similar nuances. And, at $350 or so, I'd be willing to take the chance on it.

So, enough on my defense of ART. ;)

I'm somewhat surprised that no one mentioned API.
I have a six-pack of API 312's, and a couple of 550B's.
Throw a couple of 525's in that chain, and I'm pretty sure it wouldn't suck... too bad... yes? no? maybe? :)

Listen, I appreciated everyone's response, and I guess, what I've learned, is that there's no one single answer, and....In the immortal words of Harvey Gerst, "it depends'. :D
 
Heh heh... as if Bruce hasn't tried beating "It depends" enough into your head.

All you can do is keep adding different things to what you already have. Im still dragging around vintage 80 guitar racks gear. I have a ART Multiverb LT I use on occasion for only one stinking preset :)

I never mentioned API (vintage Legacy type) because I think the compressors are not as good as others that were mentioned. But I haven't heard any of the 7000 series pieces even though they are supposed to be reproductions.
Sure add 525 to your things to get. My perspective is too add as much color as you can afford to.

Rack em Up Dano :)


SoMm
 
MM, can you please describe some of the upgrades that were done to your pro VLA. I have one and would be interested into looking into upgrades.

Thanks for your help!
 
Even though its not cream and butter as opto's and vari-mu etc, I have a Drawner DL241 autocompressor wich has been very valuable in my small studio. Its a clean compressor, with expander and peak limiter onboard per channel (2 ch unit). It goes around $7xx for a 2 ch linkable unit...its not bad at all.
 
dbx160 nice effect and on alot of classic hits. Try and look for a dbx118 on ebay they say they sound simmiler.
 
I'll probably get railed for even mentioning this, but I have a rack of Presonus (ACP-88s) that I really like the sound of.

I know they aren't Avalons or vintage DBXs, but I think they have a nice sound to them, and I REALLY like the way that the gates on them work (the ACP-88 is 8 compressor/limiters with gates).

Velvet Elvis
 
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