![]() Bear in mind that if you are recording to 24-bit, there is no reason to use hardware compression on the input, unless you like the sound of it better. for a variety of reasons, I tend to prefer plug-ins. I own both and I like them both, but I hardly ever use them for digital recording. It allows for sensitive, musical, not-super-artificial-sounding dynamics control even at fairly heavy settings. The FMR one is the best all-around compressor you can get for the money that I know of, although it is less common in professional setups that can afford the more expensive units. It is a staple in professional recording studios. On vocals, it gives an agressive, up-front sound, which can be just the ticket for certain kinds of hip-hop or lo-fi "power vocals," but which can be essy and too much for sensitive, nuanced performances. It has a "sound" and a good one, when you want it. The DBX is great for contemporary kick and bass sounds, and for other things that you want to sound fat, punchy, and compressed. It'll make things break up a bit when in auto, but as long as you set everything manually it works like a charm and actually sounds every bit as good as my 160XT but without the pleasure of enjoying the company of truckers going through town. The only thing it doesn't do well is work in "auto" mode, (the very thing DBX is known for). It emulates over-easy really well too, and also has peak limiting functions. I think I paid a little over a $100 for it. I figured that the Behringer unit was so cheap that I couldn't get hurt much if it was a dud. I had bought a pair of matched mics for recording stereo acoustic guitar stuff and needed a stereo compressor. Now you won't believe this but, I picked up a very cheap Behringer Composer Pro-XL last year. But DBX still does that over-easy sound better than anyone. I have to use really good shielded cable with it and even then I still have problems now and then. Not a hum so much, but its somehow gotten to where it can pick up radio interference, like CB radios when truckers go by. Like Frank, I've also had some noise issues. It’s a single channel unit that only compresses and sells for around $500. I've still got their very expensive 160XT. I don't have that particular DBX unit either, but I've owned several DBX compressors over the years. Further, some people want to mix into a compressor to "glue" the mix, but frankly if a mix lacks cohesion it's due to something earlier in the process, not due to the absence of a fancy buss compressor.I've never owned an RNC unit. The pre-mastering/mastering stage will involve more than enough dynamics-squashing compression and limiting. When mixing, compression should never be applied to a stereo mix in order to increase actual or perceived volume/loudness, but instead as an effect to aesthetically complement or augment the recording. Of course, It's not strictly necessary to mix into a compressor. Also, consider parallel (i.e., a mix of wet/dry signal) compression. I'd stick with software, like the ones you mentioned, maybe try the Waves API 2500 emulation, and don't discount those that come standard with a DAW. In that price range there isn't really a hardware option I'd feel comfortable mixing into on a regular basis. My favorites for the master buss are: Klanghelm SDRR and MJUC, TDR Kotelnikov, Softube Drawmer S73.Īptamusic wrote:Fair point, I'd say £500 tops.Īs far as plugs go, I'm pretty happy with the kush and slate comps. They may not be as good as hardware but they are certainly good enough. I don't see myself throwing 3-4K on a compressor when plugins are so good. I've only had experience with those units at professional studios, in my own home studio I rely on plugins. It's a very precise and powerful compressor but you really need to know what you are doing to get the best results out of it. The least expensive unit I would consider on the master buss is the elysia xpressor. Manley Vari-Mu is also a popular choice, though more transparent than the SSL. It has an uncanny ability to "glue" the mix together. If you produce a lot of music where you need to deliver the final product then invest in a high quality unit. Many mastering engineers prefer that anyway. You would be much better of leaving it uncompressed and sending it for professional mastering. ![]() Going for a cheaper unit on the master buss is false economy in my opinion. ![]() ![]() It's also not easy to design a compressor which will handle all kinds of program material be it rock, pop, electronic, etc. You don't want the last process in your signal flow to be the weakest link in the chain. You are running your precious mixes into them and they have to make sure that what comes out is better than what came in. Master buss compressors are expensive for a reason.
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