Samson C Compressor - Thoughts?

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jamie_drum

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Hi. I am currently using my computer to record vocals and guitar. My setup is a Shure SM-57 into a M-Audio DMP-3 pre-amp. That goes to my soundcard, an Audiophile 2496 PCI. Normally, I use only software effects--I don't have any outboard stuff.

However, I am now thinking that an outboard compressor would help me with tracking. I could bring the volume of my performances up a bit without worrying about the digital clipping. I don't have a lot to spend, however. I was looking at the Samson C-com series compressors. There is the "16 compressor" and the "Opti Optical Compressor". They both go for about $100. Another option would be the Alesis 3630 for $100 or the Samson S Com plus for $120.

What do you think--can I get a reasonable, transparent compressor in this price range? Also, what is the diffence between optical and regular compression? Thanks.
 
Whatever you do, DON'T BUY THE ALESIS 3630!!! This compressor is pretty universally thought to be the worst of the worst. I think there's actually even a negative comment about it in the description of one of the forums on this board! If you really want one of these you can find it on eBay for $30-40, but most people on this board would probably tell you it'd be a waste of money. The Behringer compressors are generally thought to be good for the money. You can always find older models on eBay pretty cheap, or even new ones for around $100 or so.
 
It is normal practice to record as is and then apply compression to the recording at mixdown as required,that way you can monitor the results in the mix.

As you have a pretty good recording chain lower the recording levels to give approx 10db of headroom, noise will still not be a problem after you normalize.

If you still want to add compression during recording use as little as possible.

The Berry compressor units are indeed good value.

Tony
 
wilkee said:
It is normal practice to record as is and then apply compression to the recording at mixdown
Click to expand...

that is not very true. use the comp/limiter on the way in, just limit your peaks so you don't get clipping, and then compress when mixing..

I haven't used behringer compressors but that suggestion sounded favourable over 3630 and samson, which i never heard of.
good luck
 
Okay, these seem like good suggestions. I still don't know the difference between optical compressors and normal compressors, however. Another option I ran into while cruising the forums is the Really Nice Compressor by...um... APR? ARC?--something like that. It's a bit more expensive but seems to get good reviews.

Any other recommendations?
 
that is not very true. use the comp/limiter on the way in, just limit your peaks so you don't get clipping, and then compress when mixing..
Click to expand...

This is exactly what I use mine for. Just as a hard limiter to make sure there are no peaks to clip the soundcard input. I use a dbx 266xl (~$100), works great for this purpose. Then I use the compression plugin in Cool Edit Pro for convenience.
 
jamie_drum said:
Another option I ran into while cruising the forums is the Really Nice Compressor by...um... APR? ARC?--
Click to expand...

........FMR........ :)
 
Yeah but how does it compare to the Behringer or the Samson?
 
The FMR Real Nice Compressor is wonderful. Under $200 and great sounding. Its not a coincidence that Harvey Gerst's studio has FOURTEEN of these puppies! Totally smokes the Behringer or Samson.

-lee-
 
i have the s-com compressor. it's a good match with the dmp3, because it's clean and simple. you can't get any seriously-squwashed-to-crap compression out of it, but since your using a dmp3 (very clean, transparent), i think the s-com would be a good choice.

peace,
jon.
 
An optical compressor uses an electro optical attenuator to control the dynamics of the processed signal, which basically consists of a light source whose intensity is proportional to the level of the input signal, and a photoconductive cell whose resistance decreases as the light intensity presented to it increases. I'm not exacty sure what you meant by "regular" compressors, but if you meant VCA based units, those have much faster response and are more linear, which many engineers consider to be "less musical" sounding.
 
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