ART PRO VLA II REVIEW
Now here is a unit that truly performs well beyond its asking price. Many pros have this (and the original VLA) in the rack for a reason: it works and has a very decent sound to it. The new version II also has a stepped pot for gain and other settings, so recall ability just got a little easier also. You now get full control over attack and release settings too. Optical compression tends to be a smoother sound when dealing with dynamic range control.
For tracking, the VLA II offers a fairly predictable circuit for voice and acoustic sources. It does not darken the source too much, which some opto units are known for. The noise floor is also quite low on these units, although you gotta admit the whole tube output section is really more of a marketing thing. On drums you can get a classic crunch with fast attack / release times, and the VLA II is capable of serious levels of gain reduction with character. It can do gentle pretty well, 2:1 isnt a bad place to start with 2 buss mixing compressors and the VLA II is the most buss compressor youll find in this price range. It does a decent job of providing obvious or fairly clean compression, all with the opto sound which is a bit slower than VCA designs.
Conclusion: The perfect entry level compressor for the home studio, and a great addition to pro and project studios who need two more channels of control during mixdown on the cheap. ART nicely improved from the original version as well, the VLA II is worth every penny.
A-DESIGNS HM2 NAIL REVIEW
The NAIL is the long anticipated diode / tube compressor from A-Designs and after spending time with it I can truly say it was worth the wait. Pete Montessi has always delivered a great tube tone but this is A-Designs first foray into dynamics control (and the NAIL just happens to match up nicely with the HAMMER EQ). A lot of time was spent designing this box. The NAIL features a THRESHOLD (which also increases the ratio when hit deeper), a HARD THRESHOLD (which is a separate peak limiter for extra stopping power), ATTACK and RELEASE (both of which I find to be exceedingly fast OR slow depending on your need), an on board MIX control (an internal mixer which allows dry and wet parallel compression), a sidechain FILTER (which keeps bass heavy material from pumping), a true hard BYPASS, stereo linking, and a pair of very cool LED meters. The unit is transformerless with a tube output section outfitted with JAN Philips 12AT7WC steel tubes.
Action: On drum buss I can absolutely hold stuff in place nicely with still a great transient "snap", cymbals and snare still have nice top end response. To keep things from getting too pumpy what we have is the ability to affect the low end response of the compressor less by engaging the FILTER and removing the ability of the compressor to react to heavy bass. The HARD THRESHOLD can be a nice quick stop for snares and kick! The cool thing is being able to find that happy place, that variance between both threshold settings (they interact to a degree). On drums I am really liking THRESHOLD maxed out with HARD THRESHOLD at about the 12:00 position (AM...). I am talking about a drum buss, gluing and smacking and fuzzing them into a nice controlled envelope. I tend to hit drums fairly hard but I ease off the attack a bit to let initial snare and other transients crack. The breakup range on drums (when purposely pushed) is in the "crisp / splat" area. On bass the NAIL is pretty predictable and tends to have a somewhat "round" sort of release to it that you can dial in (it's smoother, rather than jumpy).The breakup range on bass (when purposely pushed) is in the "fart / fuzz" area.
There is a lot to say about the NAIL on vocal use. First of all, having only a single THRESHOLD and not an additional ratio control are kind of nice. Who wants to have to dial in all this crazy stuff during a tracking session? The somewhat more automatic nature of the NAIL is welcomed in my book, and it's what makes a lot of cool classic compressors so sought after. The threshold is very easy to find on voice, and essentially we're affecting not only the threshold level but as we go deeper it's raising the ratio at the same time. It's not tricky or hard to find though, it just sort of...works. On voice I am able to take up to -20dB of reduction (according to the snazzy meters) and still hear space and air around the voice. In fact, the NAIL is one of the few compressors I've heard that not only seems to retain space and air-y top, but brings it more to the surface. It has less of a "ducking" sound to it with voice, you have to go extreme with it if you want to hear the clamping / grabby stuff. The breakup range on voice (when purposely pushed) is in the "crunch / rasp" range.
2 buss is a main design goal of the NAIL, and it has all the right tools on board. You can use dual mono / stereo linked (dual mono compression can sound wider), and the MIX feature is really well suited for more subtle types of sculpting. I found on 2 buss the NAIL has an easy way of dialing in the rhythm of things while varying the threshold moves from subtle presence to a noticeable pumping and anywhere in between. You can just sort of use it to pop certain elements out hotter (vocals, guitars) while reigning in drums, or you can go deeper and really get the whole mix moving. I never ended up past around the 11:00 or 12:00 position on the THRESHOLD on any 2 buss mix (of course this is dependent on the mix level), and HARD THRESHOLD I liked set in a similar range with around 80hZ as the corner frequency on the filter. Experimenting with the filter, and then going back to the THRESHOLD / HARD THRESHOLD, you can find a range of natural sound that still allows the low end to breathe but not dominate. It can be tweaky in this regard, but worth the time. This is my main area of interest when using MIX features on a compressor, I found the 2.5 setting on the comp side to work a lot.
Tone: The tone of this unit is what you expect out of a high end company like A-Designs. Having used their MP2A preamp I can tell you it's rich, air-y and deep with a unique way of delivering sources in their own space. It stays on the cleaner side for the most part, don't expect the more obvious distortion some companies purposely go after. The NAIL excels at 3D tube tone that only enhances, and never seems to take away. Transient response sounds gently rounded (I mean gently, not crazy smoothed over) and it's a smooth tone that also delivers size. My ears hear maybe a bit of extra presence in the 8-10k range (great for clarity) but no noticeable accent above or below in normal use.
Conclusion: The NAIL nails it in many ways, the good news is that those ways are the things most of us use compressors for (drums, voice, mixdown). In minutes you can really get a good understanding of what knob does well most times in each position, and its just sort of tweaking from there. The dynamic range control is a great mix of set-and-forget and dial-in-able, with very fast action available when needed. I suspect a lot of folks will buy the NAIL to let it live on the mix buss but it really does well with many solo sources as well.
AUDIENT BLACK COMPRESSOR REVIEW
This mono compressor (stereo linkable with 2 units) is only compatible in Audient's own Black Series racks and is not 500 compatible. There are several features on this compressor that make it very useful but also very LOUD which is what a good compressor does. Ratio offerings are 1.2:1 up to 8:1, release time variable from 100ms to 1.5 secs, attack time variable from .1ms (very fast!) to 30ms. Also, there is an "Overcomp" circuit which brings a very aggressive action, and a "Smooth" circuit which does what it says. The unit can accept an external sidechain for key use, and the metering is a decent VU switchable between gain reduction and output. The input gain pushes it to the threshold, there is plenty of output makeup gain as well.
This is a VERY useful compressor on many sources. The ratios are well chosen and can do very gentle do wild control. Switching between ratios is a little quirky as there are pretty big swings in threshold settings between some of them, so you kind of have to rethink things for a moment if trying different values here. The "Overcomp" switch brings a whole new dimension to the unit however, talk about maximizing loudness...it really brings it. If you like super hot in your face action, the Audient brings it strong and predictable, as well as easy to dial in. The "Smooth" circuit just works so well also, whether you are being nice or hitting the Overcomp smash mode, it takes the crunchy edge away and delivers...well...a SMOOTH tone that I really was impressed with. The attack is capable of very fast (or slow, 30ms is pretty easy going stuff) and the release mode is versatile too with an AUTO mode that, well I wasn't a huge fan of as it was pretty slow but not a good match on various sources I tested. Manually setting it though proved to always find a pleasing sound (I gravitate towards faster release times for less obvious pump). It does have a bit of that VCA sound but having that smoothing ability makes it sound a bit more like an optical design to my ears.
Conclusion: Audient...build a rack version of this unit...or 500 series...please! Serious control and useful features all around, after very little time learning this comp anybody can get HOT tracks in a predictable way, and you can always smooth the tone over while still getting insanely high average output volume. A real winner, if you use multiple mono compressors while tracking or mixing, it's worth it to pick up along with one of the Black Series racks...and start pegging stuff to the ceiling in a very effective way.
BBE AUDIO MAX-COM REVIEW
This dual mono / stereo linkable compressor has a decent feature set for such a low priced item, and for home studio enthusiasts as well as pro studios looking to add a couple channels of inexpensive dynamics control, it is a decent performer. The unit features attack times from .1ms to 200ms, release times from .05 secs to 2 secs, ratio from 1:1 to 10:1, as well as an AUTO mode which takes over for the attack and release duties on its own. One unique feature is the MaxCom also has a pair of Sonic Maximizers on board to enhance the signal if desired (they can also be bypassed). There is no true bypass onboard but you can engage the compressor on and off to A/B the results against the dry signal. The LED metering is interesting in that the LED's darken rather than light up to show gain reduction (opposite of what you expect).
The first thing I want to say is, if you're one of those people who might call and say "I think I need a buss compressor" but have never really used one and want to learn, go ahead and buy a MaxCom now. Is it an awesome mix buss compressor? Compared to higher cost boxes...no...but it's a very decent one that costs next to nothing, works as advertised and links up in stereo nicely for easy operation. The AUTO mode happens to do a pretty good job also on mix type stuff so another reason for a beginner to pop one of these in the rack and learn. OK having said all that this box is not just limited to beginners so...on we go.
The attack is plenty fast enough for things like drums, it will catch the lead transient of a snare drum / kick well enough and tame things in a fairly smooth manner. Initial drum transients end up a bit rounded compared to some other designs, don't expect that SSL presence when smacking drums to the extreme. The release can be a bit pumpy in the early stages, but overall you can usually find a pretty predictable setting and rock on easily. The AUTO mode replaces both the attack and release settings with its own, which is sort of hit and miss like all AUTO modes. On drums you have to go pretty deep on threshold before it takes effect, lighter compression in AUTO mode on drums is simply not possible as the attack won't grab fast enough to affect things. Overall AUTO mode on all sources is good for quickly dialing in an average type of compression which in some ways is akin to turning the volume down and not really re-shaping the envelope in any dramatic way.
Bass guitar is handled decently, not capable of lightning fast attack or release times, but certainly good. Vocals are really pretty nicely delivered as well, again don't expect a big sound but it tames the dynamic range in a tight manner without soaking up the top end too bad. It can be a bit tweaky here, but once you find the range it can be a predictable tool on voice and a pretty safe bet. AUTO does a good job of delivering clean control without being overly pumpy on voice.
The tone / sound of the unit is about what you expect, vanilla (not that that's bad) that doesn't really bring anything or take away. The sound is small, this isn't a "wow everything sounds huge!" box UNTIL you engage the Sonic Maximizer that is. At that point, you have the capability to blow up the bottom end (centering on 50hZ) and get some excited boom stuff happening. The top end of the box processes from 5kHz and up and adds a bit of sizzle top end fizz that can be useful if used thoughtfully and not over-done. For things like bass guitar, synths, drum buss (can breathe life into drums) and even sparsely used on a final mix, the Sonic Maximizer does have its uses at times.
Conclusion: There aren't any compressors in this price range that deliver much excitement, and while the compressor section itself is a kind of plain Jane sounding...the Sonic Maximizer does give you an option of exciting things to a degree. I'm really serious when I say home studio guys have got to have one, if anything to learn hardware compression and experiment with! Pro studios could likely get use out of them on drum buss or synth busses at a minimum, either way this box is worth the asking price easily.
BLACK LION AUDIO AGB REVIEW
First of all, at the time of this writing the AGB compressor is the best looking device ever produced by BLA. They at least took a bit bigger step away from the "project box" look of their lineup which is nice! On to the real deal though, how it functions and sounds. The AGB is more an homage to classic Neve compression, at the heart of the unit is a diode bridge design for gain reduction. It sports transformer input and outputs, as well as an interstage transformer so 3 total per channel. The comp section has an input trim, threshold, ratio from 1.5:1 to 6:1, and a release time from 100ms to 1.5 secs which are all variable pots. Switch selectable are a "slow attack" mode (10x slower than regular), a "key" input (which listens to the hardware input if you feed it with audio to trigger the comp's action) and a "compress in" which engages or bypasses the unit. The limiter has a variable release from 50ms to 800ms and a "fast attack" switch which doubles the speed there, and the ability to bypass the limiter as well. There is variable makeup gain after the compressor / limiter circuit. Metering is gain reduction only, an LED segmented style showing up to -20dB of action.
These guys have done a nice job delivering tone here, the unit is very round and smooth sounding. The compressor section itself seems to do averaging in a very smooth way, no matter how hard you push it it doesn't perform profound amounts of gain reduction on its own. Things don't "crunch" but rather sort of get more rounded off sounding when hit deep. The good news is...the limiter is there for all the fast WOW control you could likely ever want. It can act incredibly fast, and giving a variable release time (which I always preferred around the 75ms-ish range or lower, for quick recovery and low distortion) here is where you can wrangle stuff in a heavy handed manner when needed. Overall I have to say, it's the two COMBINED in one box that really brings the usefulness levels up. I like being able to have the comp act nicer up to a point, but then have the limiter absolutely squash things at a level I set separately. The comp and limiter play very nice together in this way, they really need each other in my opinion.
I preferred fast attack on almost all sources except things like vocals and mixes. The "slow" attack did a great and not so grabby job there, allowing a wider range of dynamics but not being real obvious. Bass, drums, guitars, acoustic sources etc I was able to find a nice balance between the comp and limiter and reign things in nicely using fast modes. The unit links up nicely, I could control a final stereo mix with ease and left / right relationships stayed solid. I really like the action and look of the stepped LED meter as well, easy to tell what's going on and pleasant in appearance too.
A few quirky things: the threshold on the compressor has a fairly limited range of useful travel, all source material I threw at it ended up in the -1 and lower range which could get a little quirky and harder to dial in if I had to deal with it towards the bottom of the pot. The makeup gain stage I did not measure how much gain it brought, but it stood out as fairly limited. The internal sidechain detection seems a bit sensitive to low end plosives, the female vocal track I use to test got a click-y response at the beginning of a "w".
Conclusion: The AGB is another "bang for the buck" offering, built in the USA with love by guys who have a passion for what they do. It stays smooth and round, doesn't bark or bite under normal use, and can do gentle to outright manhandling when engaging the very capable limiter after the soft knee (to my ear) comp section. It doesn't take long to get up and running and learn how to maximize the AGB on virtually all sources, and it's their prettiest offering yet.
CHAMELEON LABS 7720 REVIEW
The guys at Chameleon decided to take a sort of clone approach but also implemented features that well, the people who would buy this unit were asking for. Mainly setup as a mix buss compressor, the 7720 is stereo linked at all times (you can use it in mono just by using the left channel) so its always going to give you that tightly matched left / right relationship image. It features the same VCA used by many high end 2 buss compressors and clones (THAT Corp) and has a selectable hi-pass filter that helps keep bass heavy sources from overly pumping the unit. The sidechain input also allows you to affect the compression circuit externally, triggering its response to any element of the mix you like for effect.
For 2 buss linked operation, it really is quite simple and doesnt change the tone of the original source much (it does have a sound but its a subtle character). For mix buss I typically like the 1.5:1 or 2:1 ratio for its more gentle and predictable action. However, you can actually hit this thing pretty hard without losing the overall original sound while bringing an exciting new sound. On drum buss, hit it 10:1 (come on dont be a baby!) and check it out with a fast attack and release time (crank em down) and you can get that driven crunch that brings an edge to snare and cymbals and room detail and energy to the surface. On clean guitars, the 7720 can also hold them in place squarely while bringing a cool yet subtle tone of its own. It can even be a pretty decent vocal compressor!
Conclusion: Its not just for 2 buss, although that is mainly what it was tuned up for. Control from clean to somewhat driven is possible, and there is enough room in the attack and release times to keep things as affected or unaffected as you like. Overall it has a tight image and sound stage, and brings a subtle character of its own that mostly stays out of the way of your vision when used gently.
CHAMELEON LABS 7802 REVIEW
OK the short review would be this: On vocals, a 4:1 ratio with drive around the 1:00 position, attack / release turned to the fastest position = so close to an LA2A youll get sick of switching back and forth between the two (like me). So is there any more review needed than that? Sure, why notits got more features and controls! Also, on other sources its not as LA-2A like.
The 7802 is a remarkable optical compressor, with a tube drive section that is utterly dial-in-able (and doesnt just turn into a stomp box grunge sound). It uses the Vactrol brand optical cell for gain reduction, has 5 preset attack / release times (tied together, yet program dependent too) and the 12AX7 drive circuit acts not only as color control (ie distortion) but when pushed is another gentle stage of dynamics control to my ears. The output transformers seem to be helping out with a pretty big sort of sound (although I admit I am wondering what another brand of output transformers might do).
I love the balance between somewhat tweakable and ease of use, very well thought out overall. It has that smooth opto control, it doesnt do lightning quick but its quick enough for control over drums, bass and vocals which would be the main reach for this unit. The drive circuit is always in line, you can keep it pretty low so its not overly noticeable but its always there. Overall the 7802 does have a sound to it, from the compression character (pumpy action is very obvious when dialed in) to the drive character (a nice tingly tube sound with a good range of push rather than clean or fuzz box). The range of compression and distortion character are very nice, plenty to reach for and theres a lot of clean makeup gain after the drive circuit. The 7802 does darken things up a little bit overall. Drums are held in place nicely but expect pump to be fairly obvious (not a bad thing for rock and pop!), snares get that bit of splat (hit snare with the drive a bit harder). On drums I prefer the attack set slow at times (the LA2A does more of an average compression on things like the whole drum kit or room mic, the 7802 has a bit more obvious attack and release character in this position), but overall for that classic sound the fastest setting gets it. Kick drum and drum kit I typically liked using the hi pass filter on the sidechain to keep low end from eating things up too bad.
Bass guitar tracks that need some fattening up and harmonic content, with pumpy control will benefit from the 7802 also. Solo guitar with long sustained notes can be dialed in nicely for some Spinal Tap ah-h-h-h-h sustain. At the time of this writing I have not used on 2 buss, I will reserve judgment for that when that day comes.
Conclusion: For tracking and mixing of individual sources the 7802 really can achieve ballpark LA2A style control with only a couple of differences: an LA2A retains a touch more top end when compressingbut also has about twice the self noise. The LA2A also has a bit more of that wooly bottom end size to it. In general, I would go so far as to call this unit the poor mans LA2A for vocal use all day long. Not the same exactly, and more percussive sources widen the gap, its but capable of getting close enough that the price tag is well justified on the 7802.
DAKING FET II REVIEW
Lightning quick (attack time of 250 microseconds, not milliseconds!), capable of large amounts of gain reduction without imposing its own tone on things too much, the FET II is one of those control it and stay out of my way compressors that does its job and does it well. Its capable of that fast 1176 style of control, but also gives you the option of slowing the attack down a lot (63ms, compared to the 1176 which reports its slowest attack time at .8ms!) as well as the release (.5 to 1.5 secs, compared to the 1176 50ms to 1.1 secs) as well as offering unique release modes that Daking claims are modeled after classic Neve, A&D and Fairchild compressor limiters (of which I cannot personally testify to their accuracy).
The FET II is one of the few compressors that do everything at least well. It has that classic Daking clean but with vibe sound to it concerning the tone it outputs. It can pound a drum kit into the ground without thinking twice, or gently control a vocal, or just about anything in between. Every single setting is a switch, so its also 100% repeatable for recall later. It can do very obvious and driven sounds if pushed, but you really have to push it before it gets into artifacts. On 2 buss a linked pair certainly gives great control with the 1.5:1 or 2:1 ratio without too much squish.
Conclusion: Fast, clean with light character, and versatility make the FET II a great reach for total control. It will flat out reign in the dynamic range and do its best to stay out of the way, but the artifacts you do hear are pleasing in that classic Daking way.
DAKING FET 3 REVIEW
Utilizing the same compression circuit as the FET II, the FET 3 is a transformerless dual mono / stereo linkable unit that lives in a 2U chassis with oversized VU meters. Aside from the ratio every single parameter is now a variable pot vs the switches on the FET II mono units. The FET 3 also has a variable high pass filter on the sidechain, allowing you to keep bass energy from pumping your mix too much. The new variable linking is unique as well, you can go dual mono or stereo linkedor anywhere in between for some fantastic combinations of control. Also, internal linking is just plain tighter too.
The AUTO release on the FET 3 is the same as the Compex setting on the FET II, the FET II does have multiple auto release settings but they are very long and would maybe be attractive in a broadcast setting but not missed in most recording situations. As far as differences in tone I have found the FET 3 to have a sound so similar to the FET II that its almost not worth discussing, but there are small differences in sound. The FET 3 to my ears sounds slightly more detailed and true to the source, whereas the FET II is bringing a slight smoothing to the sound and has a bit of a thump that is likely coming from the Jensen transformers.
So the FET 3 is capable of the same lightning quick control of the FET II and other FET style compressors, just more tweakable. It will flat out control dynamics in a very predictable way without crazy overshoot etc. It really does remain clean-ish and more out of the way, while bringing that classic Daking tone to the table which is slightly enhancing. You can lightly compress a 2 buss mix or slam the crap out of a drum buss with nice crunch and pump available. It can definitely be pushed for character, a very recognizable sound too.
The special features to note are the variable high pass, which is very helpful for final mix and mastering duties so that bass frequencies dont pump the mix too much. Also, the variable linking is super cool. You can either get creative by semi-linking two mono sources together, but where I had the most fun was semi-linking a stereo mix on the 2 buss. Linked compressors are typically very tight in image, dual mono is quite loose, but finding that half way point = awesomeness times something really awesome. Its a very useful feature indeed.
Conclusion: Why buy a mono FET style compressor with limited options when you can have a stereo unit capable of so much more? Serious control that can gently sculpt or get a strangle hold on your dynamic range. Another Daking winner!
DAVE HILL DESIGNS TITAN REVIEW
Another tweaker's delight from Dave Hill, this digitally controlled analog compressor (no conversion or digital audio, it's just a more accurate way to control the analog settings!) is clean clean clean but with some added features that let you dial back in some grit and dirt. Controls include threshold, “shape” which lets you configure the steepness of the KNEE from gentle and linear to a more aggressive control the further you get past the threshold (1.1:1 to 10:1), attack (.5ms to 400ms), release (50ms to 5+ secs), +11.5dB make up gain, stepped parallel mix (0% to 100% wet), VCA color for modern PWM (Pulse Wave Modulation) control to vintage style compression, dynamic color which reacts to faster attack and deeper threshold transients, a stereo link (units are connected by a DSUB link system for fully linked digital controls), hard bypass, and a meter capable of output or gain reduction reporting. There is an LCD readout screen which reports these settings, including a visual perspective of the knee shape, link status and other info.
OK did you get all that?
The first thing we noticed was how clean this unit was capable of remaining, whether compressing or not. It is as close to artifact free as you could ever want to be it seems, it doesn't crunch or spit or splat but rather provides smooth and unaltered tone (if you choose to run it clean). If you like the way your source sounds, you can rely on that same character to exit the unit intact. Speaking of tone though, it does have a “fat” and “air” switch option that brings a subtle change that would make mastering engineers smile (ME's don't generally overdo such things) but a mixer during a loud rock session wonder where the difference is (again, subtle...). So engaging the clean “PWM” setting and none of the character options, we're talking a largely unaffected sound. The compressor itself is well suited to medium to lighter types of control, don't go expecting it to do an 1176 style smash job but rather a more elegant, less rock-n-roll style envelope shaper. It's plenty fast without crunching the lead transients, and the release time can be very fast and allows things to roll back up nicely without distorting. We were a bit surprised Dave didn't include an auto-release mode, but it is a smooth release character that doesn't get all pumpy either.
Switching to “Vintage” VCA mode is a totally different animal, and you're ready for some old school drive and squash that is very obvious as a compressor but also as an effect to be heard. Now we can spit and crunch! On things like drums it is a nice, aggressive type of sound. Vocals are a bit more “warm” and thick, like you tracked them a few decades ago. The nice thing is that you can blend between the two modes to your heart's delight. On top of that, the Dynamic Color option can further top off an extreme setting on transient material. Overall we found this option to be subtle, possibly not even noticed on more average type material. If you really want to go deep on a drum track for instance, this can bring some “pop” to the sound when pushed hard.
The blend option allows us to slam stuff but bring back the original, for a less affected sound. A very popular feature these days for a reason, sometimes even backing off one or two clicks can add just enough life back to the source.
The linking is incredibly in depth and accurate to our ears, with full reporting of which unit is slave and master right on the LCD readout. This isn't some 1/4” cable link situation, but an included multi pin cable carries all the digital control info needed between units for 100% control of 100% of the features from one unit. And speaking of the LCD, it's a cool feature that wasn't used for anything spectacular like showing active reduction etc, but rather just straight ahead reporting of numeric values of each setting plus a visual of the knee shape as you twist it up or down.
Conclusion: Consider it either a tweaker's delight OR a customizable compressor that you could just setup the way you like and leave that way if you wanted. Those seeking clean need not look further, and you will have these color options available if / when needed. The smoother control is more elegant than most rock-n-roll style boxes, and it also makes an excellent stereo linked compressor for ultimate 2-buss control.
DRAWMER 1968 REVIEW
The 1968 is the result of obviously a very nice effort to bring something new to the compression table. This FET design acts pretty much as you would expect a good FET to act, with plenty of smackage available and the ability to act very quickly and in an obvious manner. The 5 preset attack and release times are super easy to find a good combo to go with. You've got those and the BIG switch (which filters bass from the sidechain allowing sources to breathe easier), and beyond that you're varying the threshold which also raises the ratio at the same time. There's even a sidechain insert LISTEN function when keying off an external source. Sound easy? Well...it pretty much is...and it delivers character as well as control.
The 1968 doesn't really do straight up "clean", it always has a mojo working and an obvious sound (in a good way). It goes from some character to nothing but character in many ways. The drive can be crunchy or pumpy, it's on the more aggressive and edge-y side which I really dig. In some ways it kind of reminds me of a more aggressive VCA style comp, with great control but a very solid state sounding PUSH. Things really get interesting however if you absolutely push the tube output section HARD and it can really take a hard push too. The 1968 responds very well to hot signals in this regard, it outshines stuff costing way more and takes you right back to those 1960's pounding distorted sounds that we all love. The VU meters even glow RED when clipping, talk about fun! The "BIG" switch does just what it promises, allows low frequency content to shine without being pushed down so in the end a bigger signal flows out.
Conclusion: For major control and plenty of character, even extreme (but useable!) character, this is an easy box to reach for. It doesn't take long to learn the limits but the good news is, when you hit those limits the 1968 still finds a way to deliver without completely folding up when the push is on. A very rock and roll "hear me roar" box for sure.
DRAWMER MXPRO60 REVIEW
This unit has been around for quite some time, formerly as the “MX60” although the only change is in appearance and name. Drawmer is one of those tried and true audio companies that have been making great gear for decades and have earned a stellar rep for their gates, compressor / limiters, preamps and equalizers. It's even still made in England! The MXPRO60 is a solid state channel strip featuring an all discrete mic pre / DI with +60dB of gain (an additional +/-15dB of gain is available on the output fader pot), a one knob gate with fast and slow release, a De-Esser with male / female select, an auto mode VCA compressor, a 3 band equalizer (100hZ shelving low, 4.25kHZ shelving high, and a fully parametric midrange band ranging from freq 150hZ to 16kHZ, Q width of .3 to 3 full octaves, and +/- 18dB of gain per band) as well as a tube emulation / 3 band equalizer that brings low / mid / hi boosts as well as simulated tube harmonics, and a separate soft / hard limiter stage (always in line) to protect from overload. Wow...that was a long sentence, but it's only because it's got everything but the kitchen sink.
The preamp section is low noise with plenty of punch and smooth clarity, an all discrete design (not an IC based pre!) that delivers a healthy signal on all sources. Phase reverse, hi-pass (100hZ), a DI input with a bright mode (as well as +20dB mode) round off the input section. We simply liked everything we heard through it.
The dynamics section is very simple, the gate is quite smooth and it never chattered on us, a great thing to have to kill background noise for voice (it was not quite as fast as you'd want for most drum use, but was still useful to a degree there). The compressor is an AUTO style except you can choose the ratio (1:1 to infinity:1) and threshold and while it is somewhat hit and miss on its own, seems to couple nicely with the soft / hard limiter circuit which is always in line. At first the compressor seems a bit unruly until you find that balance. Pushing a compressed signal into the limiter using the makeup gain gives you two levels of control to maximize average volume and stop peaks. It worked well with voice and instruments, the compressor is definitely a bit slow for things like drums but the limiter is very fast and can be exploited easily if needed. The limiter is always in line before the output fader, it cannot be disabled or bypassed (not a bad thing when setting it to protect your digital converter input).
The equalizer section actually had us looking at one another a bit stunned, in a good way! That midrange control is simply one of the most versatile and smooth in combination with excellent SOUND one could hope for. Sure it has a fixed low and high band, but the critical midrange is handed to you on a silver platter here with huge control available. It works very fast also, and can do incredible amounts of gutting or cranking, as thin or super wide as you want. We get to hear a ton of gear around here, and we were expecting this EQ to be a bit of an afterthought by Drawmer. Very pleasantly surprised here, it's got what you want for most jobs from voice to instruments to drums.
The “Tube Sound” circuit is an emulation of tube harmonics, as well as 3 boosting eq circuits for low, mid and high. I would definitely consider this something worth using sparsely to make a change, but not push too hard. It's kind of a fuzzy EQ in most ways, used a little at a time and it can bring a little hair to sources. The output gain section seems clean and quiet, allowing another nice boost of volume.
Conclusion: It's been around a long time, pleasing users for many years for voice recording (including you voice artists) with its many features tailored for it. However, the MXPRO60 sports so many incredible features that it makes it useful as a channel strip in general to track pretty much anything. Easy to use, sounds great, and protects your digital recordings from clipping? Winner.
EMPIRICAL LABS DISTRESSOR REVIEW
A modern classic for a reason, the Distressor (DISTortion compRESSOR) has earned every bit of its "wow" reputation for acting like a real dynamics control box and providing other goodies such as variable distortion characteristics as well as doing a pretty good imitation of classic FET and OPTO designs when setup right (super easy though!). Using digital controls of analog circuits (no digital in the audio path...) Dave Derr has brought a unique bad ass to life and there ain't no stopping it now. Super fast or super slow or anywhere in between, sculpting the envelope is done with authority here. The ruler knobs I have to say are such a defining look too, it makes you feel like you're part of a special club just looking at owning one of these boxes.
Like a good comp / limiter should the Distressor STOPS STUFF in a predictable manner. I don't mean most of the time, I mean you'd have to be a real novice not to get it to absolutely lock down any signal you've got to toss at it. The average volume coming out is higher than most other compressors for this very reason, it smacks peaks hard and allows you to ride the average signal even tighter. Every time I reach for a knob on the Distressor and turn it, it does what I want. The Distortion modes are of course not for everybody or every signal, but they can be dialed in from subtle to square wave and bring cool harmonic color which adds life and fizz to tracks.
The FET and OPTO presets are killer if you like one knob compression. Just pop the attack and release into place (refer to the manual here) and enter the right ratio / mode, and you've just boiled all of your future decisions down to a single knob (threshold) which again, just stops stuff. While it's not just like an 1176 or LA2A / LA3A it sure does come close enough to render the Distressor a "Swiss Army Knife".
Conclusion: You have to have one, at least one. If you're a control freak you'll want a whole room full. I find the Distressor to be better where at least some obvious character is wanted, but it will remain pretty clean when needed to. From fast transients to slow swells of volume, nothing gets past the Distressor.
FINK AUDIO CS2-FA REVIEW
Dennis Fink, owner of Fink Audio, has been designing gear all the way from the old Urei days to Universal Audio and beyond. Eventually it seems he got the idea to wrap up some very cool designs into one do-all box and start his own company...which he did. This USA built stereo all tube preamp / DI / line level / equalizer / compressor is a stunning achievement in sound (and quality) based on the time I've spent with this unit. You've got an original Bill Putnam based tube preamp / input section, a tube 1176 style compressor limiter, and a Pultec style EQ (with all the same controls) so what more could you ask for? Well, all three of those things are holy grail status items so I think the only fair answer is "not much more" in one box anyhow.
Overall I find the preamp / input section to be a quintessential tube sound but not of the dirty type found in some lower cost units. It's a high quality open sound that is very dimensional and full, with that very slightly compressed sort of sound you expect from a good tube amp section. It still delivers nice detail and space, along with subtle character. The 1176 based FET comp / limiter rocks as you would expect! Dennis even tossed a SOFT ratio in there for gentle use on sources such as 2 buss, so yes this box can carry you start to finish from tracking to final mixdown. It has that great grab and energy of an 1176, capable of medium fast to VERY fast action of course, but that energetic hold it puts on things is unmistakable. The Pultec style EQ is perfect for simple "garnish" but can also do broad and deep strokes very nicely, and deliver a FAT sound that brings drive, that slight electric sounding "splatter", and a bottom end that you can really widen up a lot by pushing the boost and cut at the same time. Of course it doesn't really "sculpt" as no Pultec really does, but man can it add some balls to anything you got.
Conclusion: From kick drums to vocals to 2 buss, the Fink Audio CS2-FA is a great single reach when vibe and depth and old school are what it's all about. It's nice to have designs based on classics designed and built by a guy who was actually around designing with those folks too! The price might seem high but go price out 2 channels of tube preamp, Pultec style EQ and 1176 compression and you'll be begging to drop the cash on this USA tone monster.
PETE'S PLACE BAC 500 REVIEW
Brad Avenson has been around a while and designs for himself and other companies. Ive always found Brad to be very insightful and striving to do something unique without boasting or having an attitude or ego. If Brad had an ego he could certainly use it to boast about this compressor, which hits many a nail on many a head effortlessly! The BAC-500 is a transformer out balanced FET compressor for the API 500 format and features switchable ratio select (2:1, 4:1, 8:1, 12:1, 20:1, INF:1), variable attack and release times, 3 sidechain selections (flat, low-cut, upper mid boost to help with de-essing), a true relay bypass and a distortion circuit to bring more character and grit when needed.
I find the BAC500 to be very flexible in use on many sources. It has a thick character to it for sure, no straight wire with gain stuff going on here. Not a straight distortion kind of character but a smoother, more rounded sound overall. The attack time is fast and faster, if you want to you can really latch a signal down QUICK. The release time however can be adjusted very wide for super long times if needed. With the ability to perform light gain reduction to essentially acting like a limiter, it exhibits lots of control. In standard operating mode it brings smooth control over vocals and instruments and drums, but if you kick in the distortion switch it adds an edge to the sound that bites slightly and helps define the outline of the sound better. Things like el gtrs, drums and loud vocals LOVE the distortion switch! It can sing nicely for sure. The input gain is pretty hot, I find the BAC 500 typically works best no trying to send it super hot signals as the lower portion of the input gain pot can be a bit finicky.
The sidechain choices are great, I really like position # 3 on vocal use as it exhibits tons of control but also acts as a de-esser too for a very balanced sound. When trying to achieve that flat-lined and in your face vocal, this setting comes in handy so the Ss dont rip your ears off. Drums can be crunched up nicely with faster release times. Bass guitar is handled very well, and the sidechain # 2 position doesnt get too pumpy either. Overall this compressor has a glue-y sound and a thick sonic space that is unique. I kind of think of the BAC-500 as the FET compressor you wish you always had: it holds stuff in place very well without that hard sort of midrange sound that many classic FET compressors exhibit.
Conclusion: When it comes to ease of use and character, the BAC500 just does it. I like the versatility and the fact that it can be very heavy handed when needed. For vocal mixing with character and in your face sound, as well as bass guitar controlit is a great reach.
RADIAL KOMIT 500 REVIEW
This unit was originally produced in the USA by a small operation called Burgin McDaniel. More recently, Radial bought the design and have added it to their series of 500 offerings as their first compressor / limiter. The Komit is a one knob style compressor, utilizing two different approaches (clean and character) to controlling dynamics; VCA compression and a diode circuit simply called the "Clipper" since it uses hard distortion to prevent overages. Actually it's more like 2 1/2 ways to stop as there are two limiter modes, one being cleaner ("BW"). The controls we have are ratio from 1:1 (no compression) to 10:1 (limiting), selectable fast / medium / slow attack & release settings, the ability to link two units, +4 / -10 threshold select, switchable limiting levels on the "Clipper" limiter, the preset "BW" brickwall limiter which provides a doubled ratio of control and a cleaner circuit for stopping overages, and +22dB of makeup gain after the compressor (and before the limiter).
The Radial version reminds me of the original, I can tell they didn't monkey with the overall design and tone much. The build quality is quite nice. The meter isn't all that useful, it does a good job at delivering output info but does a pretty low resolution job of reporting gain reduction as you can hear it slamming stuff deep but it will barely register on the meter (use your ears...). All of the switches and pots feel solid, as Radial is known for, and there is an outer case on the unit (rare in 500).
I have to admit I was put off at first by realizing there is no variable threshold or input gain, but quickly realized that rather than solely relying on the source volume output for this that the +4 or -10 setting (detented on the face) actually did a good enough job of giving me the choice of how deep I want to hit things. Set it to -10 if you want more squash! Squash it'll do...just start cranking your ratio up and you will very quickly find the area of control you need and it's quite clean and smooth. You can find wimpy settings to outright pump and smash jobs no problem. Choosing between slow, medium or fast attack release states and a quick further push on the ratio and most things dial in pretty quickly and naturally. I generally preferred medium or fast on all sources, slow was...well a bit slow and didn't catch and control things the way I like. The other two are very good though, it's a one knob compressor that once you get in the groove of offers up control that doesn't mangle the sound and is predictable.
The limiter is another story all together, and it plays well with the compressor. I think I could best describe the limiter as bringing a friend to a party to meet other friends, but he tends to drink and blurt out things sometimes he shouldn't so, you have to watch him. The "Clipper" circuit is just what it says, distortion that stops the dynamic range in its tracks! Mainly a benefit, but be careful you don't ruin a good take by being overly aggressive with it. Mixing is no problem as there are no worries and things are more predictable, tracking it makes sense to keep the limiter in a much higher "oops" range on things like voice. This limiter is unique in that you can flatten things in an extreme manner with certitude (Weiner, D-NY), but depending on how hard you hit it, the result will be soft to outright obvious distortion. The design is closer to what a guitar amplifier does than what a standard limiter does. Keep in mind though, there is always the "BW" mode which switches the entire unit into more of a brickwall limiter.
BW doubles the ratios (10:1 now is 20:1) and has a heavy handed, but clean way of stopping things. The Clipper seems to have more real stopping power, but the brickwall mode is a more gentle mode that delivers more of the original tone beyond it. Overall I prefer using the compressor coupled with the Clipper, because I can balance average control with limiting in a way that can make things very LOUD (the main point of pop music compression, right?).
Conclusion: The Radial Komit brings 2 1/2 modes of control to you, varying from clean VCA to a diode clipper that halts signals with authority and character. Its one knob operation is simple and once you learn that curve and how you can push it into the limiter for ultimate control, you start to realize that everything is more in control and very loud after riding this Komit.
ROLL MUSIC RMS755 REVIEW
What started out as an SSL style clone ended up tweaked into something fairly unique by comparison. The Super Stereo is certainly geared towards 2 buss and stereo submixing (its linked all the time, does not do dual mono) but that doesnt mean you cant use the left channel and track with it either. All ratios are selected via a switch, as are the attack and release times (the only thing variable is the threshold) so its easy to recall later if needed. The meter is super cool stuff glowing purple!
In use like many compressors, it doesnt show any real strong character until pushed to extremes. There is a sound to it, but its not some kind of thick or dull sound: its more of an exciting sort of energy. There is squish available, as well as some smack with faster attack times. The program dependent release can bring a lot of smoothness to the release, and does not completely overtake the release settings you choose but rather allows it to tailor a second long release mode when needed. This box really is all about the 2 buss when it comes to this sound and feature. There is a hi-pass filter on the sidechain to help eliminate pumping, set at 150hZ at the factory there are other choices available by internal jumper selection (we liked one of the higher settings a lot but I cant remember the exact frequency at the moment!).
Conclusion: Slight squish, able to avoid overly obvious pumping, and true smackdown when you need it makes the Super Stereo RMS755 a great 2 buss compressor that reigns in those stray elements in a familiar way but with more control options.
RUPERT NEVE 5043 REVIEW
Another half rack unit from Mr Rupert Neve, the 5043 operates as dual mono or stereo linkable. With a feedback and feed-forward design available in this single unit, the 5043 can deliver two different characteristics of control to your dynamic range to meet various needs. Not a real big sounding compressor, the 5043 delivers a tight sound in use. All standard controls are present and completely variable, with a ratio range of 1.1:1 to limiting.
In feedback mode, the VCA control takes its readings after the VCA and tends to react more smoothly with longer attack times but more of an average reading results in a somewhat less obvious kind of control. In feed forward mode the VCAs control is fed directly from the input and reacts much quicker, turning in more of a peak reduction performance with a more predictable attack and release time. Feedback mode for running submixes and mixes through will sound less reactive in many ways. Feed forward for controlling dynamic ranges more tightly and with more authority is suited better for tracking for the most part.
Conclusion: Again, it does tend to deliver a tighter sound and isnt a big stomping compressor by definition. Like most VCA style compressors it can exhibit a lot of reduction quickly or smoothly depending on how you set it up. The 5043 is another winner from RND in my opinion as it makes itself useful in more than one way.
SAFE SOUND AUDIO P1 REVIEW
The P1 is literally the first piece of gear I ever refused to review, only because instead I opted to start importing it exclusively. My relationship with Robert is many years now, and the P1 continues to be used daily in my studio. Having a clean and robust mic pre, a single knob expander, a 3 stage compressor that is almost impossible to make sound bad and a limiter that absolutely will prevent your converters from ever clipping puts the P1 in the gotta have category for tracking voice, bass and other acoustic sources. The built in monitoring section might seem kind of eh to some, but think about it; the ability to blend a vocalist within a stereo feed from the DAW in absolute real time with no latency has a LOT of value in todays computer recording environment.
Ive always felt the P1 strong suit was in tracking vocals in particular, singing / speaking / screaming it can handle it all and the multi stage compressor delivers it soooo naturally and still with nice size to it. I can set my P1 up with a 3 or 4:1 ratio, attack time of 15ms, and I am just varying the threshold at that point to cover any vocal duties that walk through the door. Dont believe me? Ask any P1 owner, this thing flat out delivers on voice. The expander is super easy to dial in, does great at removing background noise from fans and HVAC systems. The set and forget limiter, I normally leave about 2dB of space between where it turns on and the input of my analog converter hitting 0, and Im done for life. A small screwdriver and a 1k test tone and you no longer worry about overloads. Oh, and the limiter can be full on engaged and simply does not square wave like other designs. Its a look ahead style design but completely analog; it detects hot signals and momentarily turns the volume down rather than a hard clip.
Conclusion: Voice, bass, acoustic guitar, drums, you name it the P1 will handle it and control the dynamic range without giving you a small, pinched sound like other compressors. Its so easy to dial in too, it keeps you working. One man engineer / songwriters will love the fact that you can dial it up so nicely with little effort. A must for any studio doing voice work.
SAFE SOUND DYNAMICS TOOLBOX REVIEW
I am one of the lucky few who was able to tell a former Neve designer (Robert Campbell, owner of Safe Sound Audio UK) what Id like to see in the feature set of a do all compressor / limiter and thenactually have it happen. The Dynamics Toolbox started with a blank sheet of paper, no clones or copying, but with one question: what is everything one could want in a single compressor?. To me the answer was simple, welleverything!
The Dynamics Toolbox is designed and hand built in the UK, very boutique stuff. It happens to be the most feature laden analog compressor / limiter on earth as well. It has two modes of compression, Dynamic Tracking mode for smooth control of 2 buss mixes and mastering (but can be pushed for crunch when taken to extremes) and Peakride mode which employs an auto release design and swift control for tracking purposes. The DTB also has 2 internal sidechain EQs, completely variable to roll out low end and high end to affect those frequencies less with the compressors action. You can also use a hardware insert to key or EQ the sidechain, and SOLO the sidechain also to dial in what you need to control. There is New York style / parallel compression right in the box also, and can be mixed linked or used separately in dual mono mode. This enables you to blend compressed material with the original unaffected sound, which is great for everything from drum buss mixing to 2 buss to mastering to mixing wildly dynamic orchestral recordings. You can also add Sowter or Lundahl transformers to the output (and swap them yourself) which gives the DTB four functioning outputs at once. In other words, add the transformers and wire all 4 outputs into your patchbay and choose on the fly. Ground lifts on every input and output also keep the DTB playing nice with any strange ground schemes you may have.
Getting the picture on this Toolbox? It isnt called that for nothin!
The creamy white finish I thought was a nice touch too, it stands out in the rack.
The Peakride mode is based on the now legendary Model P1 compressor which simply holds stuff in place while tracking without pinching it or making it sound small or obviously compressed. Super easy to dial in, I cannot live without Peakride for tracking voice, bass and more. The Dynamics Tracking mode is interesting because in lower ratios it is very smooth and forgiving, great for 2 buss and mastering. However, if you crank the ratio all the way up and speed up those attack and release times, it can do a great job of bringing smack and crunch to drum kits, bass, guitars, voiceyou name it! Not a super crazy crunch, but enough to bring new flavors to the table for driven rock n roll sounds. Cranking the high end internal sidechain EQ down does a pretty good LA3A impression as well (compressing top end less, leaving a brighter sort of sound).
The limiter is pretty gentle, not a brickwall type but a bit more of an oops style limiter that does not try to sound very obvious. Its quick but not so quick it easily distorts. It is a one knob threshold setting, easy to dial in and the red LEDs in the white meters let you know when youre hitting it.
The Lundahl transformers certainly have a big and open sound to them, very linear in response. The Sowters have that somewhat exaggerated low end response and slightly driven mids, and is ever so darker up top. Choose the Lundahls for all purpose work, choose the Sowter when you want more character in your tracks.
Conclusion: My very biased opinion is that the Dynamics Toolbox is the most effective and versatile box in my arsenal. I track with it, submix and perform final mixdown with it. The price vs feature set is stunning, and its all done in the UK by a guy who knows dynamics control.
SSL X-RACK 4000 E DYNAMICS REVIEW
For a guy who doesn't live anywhere near a studio with an SSL console, I have to say that the E series compressor module for the X-Rack has that...sound you hear on records. Sporting the ability to go pretty much AUTO if desired (and it's a really smart auto mode), switchable peak or average dynamics control of the compressor, fast attack option, linear release option or fully tweakable logarithmic release, and a full gate or expander that dials in with ease...the 4000 E compressor gets you where you want to go and delivers that "pop" presence you desire and full control over your dynamic range while delivering an exciting sizzle.
For the most part I'll say you can just pop it into the AUTO modes and rock, and you'd be hard pressed to find any "bad" sounds. Average mode with linear release and fast attack, just dial in the ratio and play with the threshold and stuff will just fall into place. The peak mode is quite a different animal and obviously excels at handling stray transients and random spikes in volume better. Peak mode is also nice for more exaggerated pumping types of compression when used with the variable release. I tend to be an AUTO guy if something works well and dials in fast, and am very impressed with how the 4000 E performs in average mode. It's more predictable and I don't find myself fighting it much.
The gate can perform hardcore duties, and you have full control over threshold and depth, as well as release times. Switching to the expander is a less obvious effect but won't chatter and will deliver a cleaned up track that will slide into any mix nicely. I mostly used on drums, and yes it will do extreme Phil Collins type of stuff easily and it's a recognizable sound.
Conclusion: Whether you like to tweak or just knock down stuff quickly, the 4000 E deserves your attention. It really does have that SSL sound and performs well beyond its asking price.
SSL X-RACK DYNAMICS REVIEW
Very similar in ways to the E series dynamics module, the Super Analogue Dynamics channel is certainly a step apart and brings some more useful compressor action as well as the ability to further tweak the gate / expander section with the addition of the HOLD control. This module brings variable RATIO (1:1 to INF:1 limiting), 2 auto attack times (normal or switchable FAST ATTACK), a single mode of variable release, as well as two distinct switchable modes of compression (PEAK or OVER-EASY).
Compared to the E series, the attack time in either mode is far more useful for me. The auto sensing seems to exhibit more control eariler, resulting in a more predictable action. Fast mode is faster here also, and for most things I still prefer this mode as it really helps reign things in and has that classic SSL smack and fizz. The release time does not have 2 modes like the E series, however it seems to react more like the LINEAR E series mode which I pretty much left on all the time for its smooth and predictable response (SSL informs me it is logarithmic, I still prefer its action!). So, the single mode available here sounds like the mode I prefer. It almost seems like no matter where you set the release it finds its way back in a fairly non-obvious or overly pumpy way.
Another thing I prefer here is the PEAK mode seems more predictable and useful vs the E series as well. It will put the super smackdown on anything you throw its way as expected, but on this unit the signal retains more integrity concerning the tone but also acts a bit more like a classic single knob leveling device, bringing maximum perceived volume while flattening things nicely. Overall the OVER-EASY mode is just so easy and works well on most things that don't need extreme control. It's nice to have 2 modes that I like to reach for one unit here!
The gate / expander works 100% the same as the E series, it can do hardcore work or gentle expansion for added punch. Using the added HOLD feature is interesting if you need more control over how long the signal remains wide open, before the release kicks in. Nice option indeed.
Conclusion: An extremely useful and familiar sounding dynamics module, the Super Analogue X-rack delivers SSL smack with that present pop sound that is in your face and exciting. Overall I'd choose it over the E series on versatility. For classic control and sound while tracking or mixing you can't go wrong here, all without having to spend a ton of time dialing things in.
SSL X-RACK G BUSS COMP REVIEW
The super short story is "ain't nothing like the real thing, baby!". I've heard SSL buss compressor clones that certainly sound nice, maybe even in the ballpark, but when you hear the original it just screams high quality dynamics control as well as that present and excited TONE that SSL is known for. Sporting 6 switchable ratios from 1.5:1 all the way to 10:1, as well as 6 attack times from .1ms to 30ms, 6 release times of .1ms to 1.5 seconds to the classic AUTO mode, variable threshold and makeup gain...the X-Rack version goes out of its way to bring the classic to you in this form factor with a few new options compared to the original G buss compressor. This version features added attack, release and ratio options (but does not have the auto fade function, not much desired in these days of drawing automation with a mouse). It requires the X-Rack or Mynx to power up, and takes up 2 slots.
For the most part you could toss it into fastest attack with AUTO release and gain a substantial amount of control over most any mix. The options are great though, in many cases I enjoy it with a 3ms attack time (allowing a bit more transients on drums to shine through) and AUTO release on most mixes, using about 3-4dB of gain reduction. The perceived volume and punch can be nicely enhanced here, it has great grab but still smooth control, but the TONE sets the SSL back into its own category really. SSL have a way of giving you drastic amounts of control over audio but delivering a slight fizz and excitement / presence almost no matter how hard you twist a knob. Just like the original it has a separate sidechain input that can be used to key the action of the VCA, you could send a kick drum to it for extra pumping on the downbeats, or you could sort of de-ess the mix by inserting a dialed in EQ, among many other uses).
Conclusion: You have to admit that SSL is in the category of gear you would say is "the" buss comp. It was the G buss compressor that has meant so much to so many engineers for decades. It won't make a bad song good, but it can take a good mix and make it good-er (is that a word?) for sure.
THERMIONIC PHOENIX SB REVIEW
It takes about an hour to realize the full scope of what the Phoenix SB can do both in control and in tone. From there it's just a familiar old friend who will never, ever let you down when it comes to tube tone and compression that is predictable and so so variable. It is a fixed ratio design, however the ratio varies from around 1.2:1 to 5:1 when pushed hard into the threshold. The "SB" (Standby) version features a variable input gain (up to +30dB), variable attack (4ms to 120ms), variable release (40ms to 2.4s) and a completely variable separate threshold. The unit has a true bypass, stereo link (or dual mono), variable output gain, and a sidechain filter with 3 settings (off, 75hZ, 150hZ). There are 6 tubes running the show here, with absolutely no solid state circuitry in the signal path whatsoever. Standby mode runs the unit at 50% power, suggested for when the unit is on but not being used (which we exploited, more on that in a bit). The huge meters make it look like something straight out of EMI, they are not backlit and are vibe-y as all get out.
In use on mix buss, I chose an input gain setting that was rather low (4 out of 11, yes it goes to 11), which keeps the signal cleaner and the compressor a little "sharper" in action. We were amazed at how transparent the Phoenix really could be staged, and delivered the original signal with such detail and integrity and a small touch of tube mojo. However, the input gain stage can be pushed harder if you want a more aggressive tone hitting the threshold, which does two interesting things: it rounds off the transients a bit more and delivers an already smoother signal to the compressor, which enables you to acheive more loudness without crazy "ducking" artifacts. So here we are able to stage things super clean, or push them and really saturate things nicely, with total control over the amount of BOTH styles we desire. For my mix I liked about a "6" attack with release time pretty fast, maybe a "2". The linked image works without question, stuff stays put and the left / right remains solid. The first sidechain filter setting was very useful here as well, stopping the kick drum and bass from pulling the entire mix down in spots and allowing better transient control overall with high frequencies affecting the sidechain more.
For mono sources I tended to like the input gain up more versus the cleaner tone on mix buss. It's that classic Thermionic sound of USEFUL distortion that they always seem to get right. Just the fact that you can play around with input and threshold and find the right control and tone is a feature nobody else delivers in this way. The way the Phoenix treats initial transients is very friendly, keeping them bright and present yet delivering a definite ceiling that audio must not pass. It was impressive to also note how much range you can have with the attack time, you can slow it almost all the way down and still achieve a predictable yet even friendlier, cleaner method of control, where most boxes would let too much pass the threshold.
The release time similarly offers a wide range of control that is easy to dial in, I tend to be a fast release guy but for more average volume program material the long releases are smooth and again, predictable and easy to dial in. You can keep things as natural and well timed as you want, or you can pump and breathe this sucker into oblivion, but it's nice to have the choice to do either.
Standby mode was one of those things where the manual said to engage it when NOT IN USE, but I'm not much into manuals so I engaged it while compressing and the Phoenix turned into another sound and action compressor altogether. Running the unit at 50% power means the amps aren't really putting out a high resolution file (read dulled transients and higher harmonic distortion) and it brings this sound that is classic Thermionic Culture x 2. Crunchy, fat drums...vocals that break up nicely when pushed, electric guitars that need more bite, it's all there and still variable based on input gain, the threshold (I generally ended up re-adjusting the threshold HIGHER to take advantage of this mode) and output gain. Another benefit of this mode? The dulled transients of the signal itself when fed into the threshold are already saturated (ie compressed) so you are able to push it for more average volume, netting a huge fat crunch that splats and blaps at the surface.
The output gain is not to be overlooked either, as pushing it past clean nets you gently softer, tones of butter-i-ness.
Conclusion: Probably the most versatile tone compressor that has ever come through here, we were amazed at the "clean to mean" range before realizing its also one of the most authoritative dynamics control devices on the planet. It does clear and natural, it does butter-y goodness, it does smack/splat/crunch when needed...just pick your gain and threshold staging and go. There wasn't one thing that ever made us think the Phoenix SB wasn't a top performer for all these reasons.
TK AUDIO BC1 COMPRESSOR REVIEW
TK (Thomas Kristiansson) seems to have a real knack for figuring out what a classic piece of gear does, starting with a very good "clone", but then carrying it just a few more yards down the field where it's much closer to a goal for most users. I have to say the BC1, which is an obvious stride towards classic SSL buss style compression, is another one of those "does what you expect, only better" boxes. The VCA design BC1 features ratio selections of 1.5:1, 2:1, 4:1, 10:1 and "HARD" (limiter), attack times from "Ultra Fast", to .1ms to 120ms, release times from 50ms to 1.2 sec or "AUTO", switchable hi-pass @ 150hZ, a dual or single sidechain detector, hardware sidechain input, the ability to select a straight / mute variable pot on the output (carries entire compressed signal) or parallel blend the original dry signal in with compressed, and a gain reduction only meter.
If buying only as a mix buss stereo compressor, you're good to go. It delivers smooth VCA style control that has that "familiar" glue to it, and is one of the easier buss comps to dial in and get it right. You really never worry about the BC1 because if all else fails you can hit a fast to medium attack and slap the release into AUTO mode, and unless you just love making bad decisions no matter what, the BC1 will deliver a leveled out, maximized performance without pumping. The ability to pound a mix, or drum / guitar stereo buss mix, and then BLEND it back in with the original is a great way to retain energy and clarity but maximizing impact without sounding so obviously processed. The action is forgiving yet shows a heavy hand when you need quick transients pulled back, too.
On mono, single point sources the BC1 can be quite effective as well. The AUTO release is welcomed on many things, like voice in particular. It delivers that same smooth and predictable VCA control over anything you throw its way really. Bass guitar in particular seems to like being wrangled into place by the BC1. For stereo drum buss you can outright crush and maim, or gently keep stray snare hits and cymbal crashes sounding more in the collective.
The overall tone of this box is present and open, it seems like it can do plenty of compressing but somehow possibly sound just a touch brighter after, which is a good thing trust me. The unit doesn't have much of its own sound beyond that, it doesn't shrink or grow the size of your tracks, but it might bring just a touch of presence and clarity back which always is welcome in my book. Nice metering, easy layout and solid controls all make for a great, stereo compression experience.
Conclusion: Easy to say "you're done" if you only want a mix buss glue compressor and don't want to spend tons of money. It allows you to get your work done and virtually always end up with a better, more maximized presentation of your music. It can do well as a tracking compressor if needed, feels solid and while it smooths over the dynamic range, it doesn't smooth over detail and presence.
XQP 531 DE-ESSER REVIEW
In the days of cutting and editing and using plug-ins in a DAW, if somebody releases a hardware 500 series de-esser it had better be good. Lucky for us all, that is the case with Dane Tate's XQP 531 opto de-esser. Talk about easy to use! Take a look and you see you can change the sensitivity of the sidechain for quiet sources (x10 switch), you can select 3 corner frequencies labeled X/Y/Z (3k, 5k and 7kHz respectively) and then dial in how much de-essing you need. I like boxes like that, they do a job well and don't require you to spend a lot of time getting it right. The fact that this box uses a corner frequency (rather than narrow peaking) also is a great choice when dialing it in and finding the trouble range on a vocal track.
Most de-essers use a small bell shaped band boosted into the sidechain to find sibilance issues, and the 531 is in a different class in that it's a shelf that begins from the frequency you select...assuring you that all of those frequencies are being controlled in times of trouble! I have found it to be very quick in deciding not only which of the 3 frequency choices sound best on a given source, but finding that right amount to dial in and forget it. I know a lot of this stuff can be done in the computer, but I've found some of the plugins to be pretty quirky too as they also use narrow bell boosts. Also, I find the 531 to be very fast in release, which seems to be key in its efforts to deliver a natural sound that doesn't cut into the rest of the track too much.
Conclusion: Not much to say other than this box sounds good, is easy to dial in, and mainly stays out of the way when used reasonably. For people cutting a lot of dialog or processing ess-y singers the 531 is a dream to use and listen to as it tends to do its job without softening up neighboring non-sibilant sounds much if at all.
XQP 545 DISRUPTER REVIEW
The XQP Disrupter...man sounds like something kooky...well it is. You don't buy a Disrupter to just limit the dynamic range of stuff, you buy one to do it with an edge of 2nd order harmonics (ie distortion) as the effect. It really is a distortion box but one that mainly listens to bass content to enact its evil-doing to your signals! It's an opto compressor, sure, but it delivers fuzz. If you look at the layout there aren't too many decisions you have to make (rendering it more fun...) other than selecting the sensitivity of the threshold (x4 switch), how much disruption to perform (compressing and distorting low frequency content) and how much make up gain you need afterward (the makeup gain actually sounds very clean to me). With an attack time of 10ms and release time of 18ms, the unit tends to do better with average type of compression rather than catching very fast peaks.
On things like drum buss the Disrupter can downright mangle things, turning deep tom and kick hits into farty almost synth sounding bass buzz when pushed hard. You don't HAVE to hit it hard, but in this regard I would consider experimenting with one using it in on an aux send / return to be able to bring it into the mix during certain parts of a song that needs some excitement. On bass guitar you simply end up with less or more distorted compressed bass no matter what you do, since the Disrupter is basically made to listen to and react to low frequency content more than the upper freq spectrum. Electric guitars that need a little extra drive and distortion while smoothing out the dynamic range also benefit. Maybe the amp wasn't quite bringing the edge needed for mix time? Hit it with the Disrupter and edge will be the LEAST of your problems. I like how the "averaging" type of compression (which with a medium attack and medium fast release time render this box better at vs peak reduction) works with electric guitar stuff also. Vocals are a bit hit and miss only because of how heavy it works on the bass region, and depending on whether a singer reaches higher for part of a phrase (and the Disrupter won't "see" much to reduce or distort) or moves around (proximity effect changing on the mic while tracking) it can release from its duties somewhat unexpectedly so hard to predict this box would be much use for vocals except for very specific duties (like dialing it in on a certain phrase for effect).
Conclusion: A compressor but a raucous effects box at the same time, the fact that it relies on (for the sidechain) and affects (distorts) lower frequency content more means it can do a great job on things like drum buss, bass guitars, synths and electric guitar buss. It can do subtle, but most times I don't think that's what you'd want. From slightly hairy to downright square wave BUZZ, the Disrupter lives up to its well chosen name. In this price range, if you have a 500 rack...it's an easy choice if you need controlled distortion.