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Post by kcatthedog on May 13, 2019 2:06:02 GMT -6
Very interesting post,thx for the use examples and descriptions!
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Post by matt@IAA on May 13, 2019 5:53:25 GMT -6
I like my VCA home brew based on THAT data sheets and some personal tweaking. It’s very very clean and useful. It has NE5532s in the sidechain, a THAT VCA, and discrete op amps for the balanced input and output stage. I took some notes from my API 2500 and added feedforward and feedback to it. It has a slew rate limiter in the sidechain but I don’t use it much, preferring the auto response of the nonlinear capacitor THAT lists in their datasheet. Haha. I wish. Nah, it’s just similar to the pico compressor. The truth is a VCA compressor is not that crazy complicated and their datasheets walk you through it.
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Post by brucerothwell on May 14, 2019 14:10:36 GMT -6
I have never gotten to work with one, but I saw a video demo of the Charter Oak SCL-1, and was super-impressed with how well it compressed in a natural and transparent way.
Anyone have experience with it?
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Post by drbill on May 14, 2019 18:34:29 GMT -6
I have never gotten to work with one, but I saw a video demo of the Charter Oak SCL-1, and was super-impressed with how well it compressed in a natural and transparent way. Anyone have experience with it? Never have heard one, but the tales of people sending in units for service and never getting them back has kept me from exploring further. Same deal with CO mics. It's been going on for years. I'm not passing judgement, just relaying the facts so people don't get burned..... Here's just one thread.... www.gearslutz.com/board/the-moan-zone/1194415-charter-oak-dont-return-gear-sent-service-4.html
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Post by audioscape on May 18, 2019 14:09:44 GMT -6
A few Buss Comp's and D-Comp's just went up on the site! ;-)
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Post by M57 on May 18, 2019 15:57:03 GMT -6
A few Buss Comp's and D-Comp's just went up on the site! ;-) Thanks for the heads up. Already ordered.
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Post by audioscape on May 18, 2019 16:08:54 GMT -6
A few Buss Comp's and D-Comp's just went up on the site! ;-) Thanks for the heads up. Already ordered. AWESOME! Thanks SO MUCH man! Definitely a great decision ;-) You guys are freakin' amazing. Seriously.
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Post by drsax on May 18, 2019 18:36:18 GMT -6
I have never gotten to work with one, but I saw a video demo of the Charter Oak SCL-1, and was super-impressed with how well it compressed in a natural and transparent way. Anyone have experience with it? Never have heard one, but the tales of people sending in units for service and never getting them back has kept me from exploring further. Same deal with CO mics. It's been going on for years. I'm not passing judgement, just relaying the facts so people don't get burned..... Here's just one thread.... www.gearslutz.com/board/the-moan-zone/1194415-charter-oak-dont-return-gear-sent-service-4.htmlI’ve owned a couple of them and still own one. Great compressor... but yeah. Service and future service are questionable at best.
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Post by drsax on May 18, 2019 18:37:55 GMT -6
In response to the original post, For a bit more money a Daking FETII pair would cover just about anything including sounding killer on mic buss and drum buss. The most flexible comps I’ve ever used. Alongside your 2a you’d have a lot of ground covered.
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Post by indiehouse on May 18, 2019 20:23:32 GMT -6
Sebatron gear flys under the radar and is some serious stuff. Good deals to be had on the second hand market. Keep an eye out for their SMAC stereo/dual mono compressor. Checks all the right boxes and is relatively affordable second hand.
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Post by M57 on May 19, 2019 4:04:28 GMT -6
In response to the original post, For a bit more money a Daking FETII pair would cover just about anything including sounding killer on mic buss and drum buss. The most flexible comps I’ve ever used. Alongside your 2a you’d have a lot of ground covered. Thanks, but I just pulled the trigger on the AS Buss Comp. I don't know what I'd be doing without the help and advice I've gotten from folks on this site.
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Post by Deleted on May 23, 2019 12:52:57 GMT -6
Another vote for the Drawmer 1968. I have it parked on drum buss but it feels like it could do anything I want it to. It’s also dual mono if you don’t want stereo link. The TK Audio SSL-style compressor is fantastic and it has parallel built-in, though I never feel the need to use it. I used to have a 1968. Lived on my mix buss for something like 10 years. I almost never bothered to change the settings. It just always sounded good with 4 and 4 att/rel and then I'd feed it signal using my master fader until the meters flashed red on every kick and snare hit. Later, I started using it on drum buss. Also nice there. Now I'm wishing I didn't sell it. haha. I love the TK BC501. Took me a while to get the hang of it, but man, once you hit the sweet spot with the settings, it's very nice. I never really knew what people were talking about when they'd use the term "glue", until I got the TK. I've used it on drums a few times, but it mostly just stays on the mix buss. I'm not sure I'd vote for it as a general use kinda thing though. It's pretty aggressive, so I don't use it for tracking, but like I said, still learning it's strengths and weaknesses, so I'm sure that will change. For general purpose/sounds good on just about anything compression... Daking FET II, 1176 or Distressor get my vote.
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Post by rocinante on May 27, 2019 8:53:39 GMT -6
This is my little bad boy I have for sale. It's a GSSL with Turbo and blend.
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Post by johneppstein on May 27, 2019 12:24:36 GMT -6
My point is that a stereo linked compressor compresses both sides at the same time. That's the nature of linked. I think unlinked is better for piano. Maybe I'm the only one. I think unlinked/dual mono is better on almost everything. But that’s just IMHO The problem with going unlinked on a stereo buss is that it makes your perspective wobble like a teeter-totter.
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Post by johneppstein on May 27, 2019 12:51:03 GMT -6
I have two compressors that see duty on the 2-buss at various times (not together.) They are a Daking FETIII and an A-Designs The Nail. The Daking has a blend control for the stereo link, so you can vary the amount of channel interaction from zero to locked. This can be quite useful. It's also the advantage of a FETIII over a pair of FETIIs. The Nail does parallel compression onboard with separate controls for each channel. I don't use parallel compression much, but it's nice to have available without having to go through setting up patching with mults and extra channels. It's also hybrid tube/solid state. Both of them have HPFs in the side chain. The Daking is, of course FET. The Nail's principle is unstated.
FWIW I have 16 channels of currently working compression, plus a Valley People Dynamite that I need to get around to fixing.... One of these days......
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Post by Tbone81 on May 27, 2019 15:57:27 GMT -6
I think unlinked/dual mono is better on almost everything. But that’s just IMHO The problem with going unlinked on a stereo buss is that it makes your perspective wobble like a teeter-totter. In theory sure, in reality that’s bever been a problem for me. I’m not hitting the bus compressor hard enough for that to ever be a concern and besides, all the big stuff is down the middle anyway (bass, kick, snare, vox). YMMV
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Post by johneppstein on May 27, 2019 16:56:18 GMT -6
The problem with going unlinked on a stereo buss is that it makes your perspective wobble like a teeter-totter. In theory sure, in reality that’s bever been a problem for me. I’m not hitting the bus compressor hard enough for that to ever be a concern and besides, all the big stuff is down the middle anyway (bass, kick, snare, vox). YMMV As others have noted, it makes things panned center wobble from side to side with the compression.
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Post by geoff738 on May 27, 2019 17:11:07 GMT -6
I have two compressors that see duty on the 2-buss at various times (not together.) They are a Daking FETIII and an A-Designs The Nail. The Daking has a blend control for the stereo link, so you can vary the amount of channel interaction from zero to locked. This can be quite useful. It's also the advantage of a FETIII over a pair of FETIIs. Both of them have HPFs in the side chain. The Daking is, of course FET. The Nail's principle is unstated. I see that the Fet III has had a few updates, like the hpf and blend control that John has mentioned. I don’t believe they originally came with those? And they appear to have more standard release controls and variable pots for most of the pots versus the stepped pots and (some) emulated release settings of the Fet II. Just wondering for those that have tried the II and the III how different they are. I have a II but just one and I see they don’t seem to be currently available new. Cheers, Geoff
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Post by johneppstein on May 27, 2019 19:59:35 GMT -6
I have two compressors that see duty on the 2-buss at various times (not together.) They are a Daking FETIII and an A-Designs The Nail. The Daking has a blend control for the stereo link, so you can vary the amount of channel interaction from zero to locked. This can be quite useful. It's also the advantage of a FETIII over a pair of FETIIs. Both of them have HPFs in the side chain. The Daking is, of course FET. The Nail's principle is unstated. I see that the Fet III has had a few updates, like the hpf and blend control that John has mentioned. I don’t believe they originally came with those? And they appear to have more standard release controls and variable pots for most of the pots versus the stepped pots and (some) emulated release settings of the Fet II. Just wondering for those that have tried the II and the III how different they are. I have a II but just one and I see they don’t seem to be currently available new. Cheers, Geoff I believe that the FETII has output transformers (or was it input transformers?) and the FET III doesn't. Stepped pots are better for repeatbility and for mastering. I don't believe that the hpf and blend control are updates but I could be wrong.
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Post by geoff738 on May 27, 2019 20:04:04 GMT -6
Yeah, the Fet II has input and output transformers I think, but they’re not supposed to colour the sound.
Cheers, Geoff
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Post by schmalzy on May 27, 2019 20:22:39 GMT -6
The problem with going unlinked on a stereo buss is that it makes your perspective wobble like a teeter-totter. In theory sure, in reality that’s bever been a problem for me. I’m not hitting the bus compressor hard enough for that to ever be a concern and besides, all the big stuff is down the middle anyway (bass, kick, snare, vox). YMMV That's been MOSTLY my experience as well. The only time it turns into an issue is when toms want to be mixed wide and loud or there are specific sound effects/impacts/drums hits that are off-center and need to be pushed loud.
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