So I downloaded a whole slew of analogue emulating plugins to get that sound I want, but I also want to add one master bus compressor that is hardware to really make it REAL and not emulated! Can anyone recommend an affordable one? Something that's not too pricey?

 

https://m.thomann.de/gb/fmr_audio_rnc_1773.htm

Why a hardware compressor?
Why not a summing unit?

 

Art Pro Audio if you on a bang for $... what i use for stereo compression they're cheap but i personally love the sound of em

 

Last edited: May 8, 2016

This looks right up my alley, and everyone seems to really like it! Some are saying it's comparable to thousand dollar ones! Thanks!
What do you mean by "summing"? What's the difference between summing and a master bus compressor?

 

Isn't this more of a Compressor for mics though? Since it's meant for FM radio?

 

The RNC compressor is not a buss comp, and is unbalanced in and out - instead of LINE.

How much money are you looking to spend? I would save up for something pretty nice. Check out the following :

19" rack :

- ROLLS RMS755 - SSL type compression. Pendulum loves this one.

- Regular John Recording (RJR) look for used w/ scf. SSL clones.

- DAKING FET III - look for one used. It's not an SSL type of compression.

- TK Audio BC-1 (BC-1S) - Look for a used one

- FCS (Foote Control System) P3S - Gotta look for a used one. Roger makes some of the best compressors in the world. A swiss army comp.

- I would say OVERSTAYER VCA, but they just sold their soul to Vintage King audio and prices went way up!

There are lots of incredible options in 19" format, but they can get pricey. I just spent (like a dumbass) a ton of dough on a Manley Vari-MU, and a TSL4 (more vox comp/limit). I think I should have gone with a GYRAF or Culture Phoenix, but there were too many options.

You can also buy a GSSL kit and build one yourself for cheap! I would personally get something with some transformers that you can bring in and out.


500 series :

- Elysia Xpressor - The most versatile buss comp. Different, but close to SSL sound

- TK-501 - SSL sound

- Serpent SB-4001 - SSL sound. Also, a DIY kit!!!

- The best for the money in this format - sound wise - is the Dramastic Obsidian and the CL-1A

- I don't recommend the IGS in 500 format.

I'm guessing that you're mixing dance music, so I've listed SSL type compressors. Don't get me started on the other types of compression. My mouth is starting to water. Look at the DW Fearn, the Zener, Knif, Gyraf, Pendulum, Foote P4S ME, Buzz SOC 2.0....... o_O

my 2 pennies.

 

Last edited: May 5, 2016

Thanks for the info. SSL sounds desirable and yes, I am going to be using it for electronic music. I'm looking at spending $300 tops! What can I get for that? I really just want one simple compressor to round things off and create that analogue sound, so I don't think I need to go overboard! I'll be using plugins for the most part and then doing the final master with one hardware compressor.

 

Bluerover has you covered and is watching your back. I will second the motion for the Daking and the Rolls. The Rolls is a sleeper but should really not be a well kept secret outside of the USA. Not cheap cheap but has an important high pass filter so that the bass doesn't over compress the higher frequencies. Sounded great when I heard it the one time.

 

For $300.....well, you can't really get what you're looking for with that amount. Maybe a used Chameleon Labs 7720, but that would be a good deal.

You're better off breaking out your soldering iron and building a DIY GSSL for a bit more.

I would honestly save up your money for 6-10 more months (etc..).

On eBay, type in the search "SSL clone" or buss compressor. Sometimes you'll find a used SSL clone going for cheap. The RJR is a good one, and you have some no-name SSL clones that go for cheap used too. Normally, a pre-built SSL clone on eBay looks like it goes for $550 (new).

You want your SSL buss comp clone to have a side-chain HP filter, or else whats the point for the type of music you're mixing. (0.1 db GR????!!!! lol) j/k

Do LOTS OF RESEARCH, save your money, and when the time comes, buy something nice. You'll thank me later.

On a side note, I'm amazed at how much the prices of outboard gear has gone up, and the used stuff has more than retained it's value!

 

Last edited: May 5, 2016

I'll do my research a little more. I'm really new to the whole hardware compression thing! It looks like the best way to go for a well rounded over all master. I just can't get that low end with digital. It's not the same.

 

Don't think of your SSL buss comp as "mastering" . You should be mixing into it from the start of your mix, and your GR should be from 1-4 db max. Of course, use your ears, but don't confuse clipping, limiting, and making your mix loud with the purpose of a 2-buss compressor. You won't use your compressor for cranking the loudness of your mix. It will be the same volume or slightly more. It's about character, a bit of grit, and the frequency tilt that comes from the unit(not to mention the pleasant ADDA conversion round trip - depending on quality of ADDA) Use your fader for volume, and then go to town experimenting with your limiting, clipping, etc..

 

Joe Meek MC 2, cheap as desktop unit, decent reviews.
Bit more expensive but worth it Drawmer 1968 MK II can't go wrong,
More expensive still API 525. Might fing it hard on a tight budget ($300) to find this sort of thing and looking for used as said by bluerover always an option.

Good luck

 

why not to explore Acustica Audio Nebula?
usually as buss comp we tend to keep the same preferred ratio/attack/release settings and just tweak the treshold/gain.
it's not and emulation like i.e. any other VST plug, it's the real thing.

 

Check out http://stamaudio.com/page/sa4000-stereo-buss-compressor/ very affordable and his builds are top quality I just got my La2a

• SA4000 Stereo Buss Compressor: 490.00 (PRE-ORDER, 100.00 DEPOSIT REQUIRED).

 

The reason I asked you about this specific compressor and summing unit is to see if you have the slightliest clue about how hardware works or what is used for. And it seems you don't and that's not a problem at all, anyone can learn. But because you don't, you'll spend alot of time searching for that "real analog sound" and you won't find it because you don't know what you are looking for. If you already sign tracks to labels and you have money, spend some really good dozens hours documenting about hardware. If you don't sign tracks (you just beginning producing), no hardware will make a track better. This is the friendliest advice I can give you. Not even the $20.000 hardware (and you can easily get there with SSL) will make your track stand out. Will sound different, but not necessarily better.

 

Last edited by a moderator: May 5, 2016

Just to add to that I've used a RNC and they are really good. Really useful for a few things. Within that price bracket i.e sub 300 you ain't gonna find much at all Hardware wise apart from something as jayflash suggested or Joe meek MC2 which also great but as said above it isn't going to somehow give you a magical analog sound. No tube/valve compressors sub 300 even 3000 & they not gonna do that either.
Great advice from jayflash & bluerover.

I'm a guitarist and I've been searching and still am for that elusive sound after 20 years probably always will be

Best advice do a lot of research like said and wherever possible test stuff out.

Even pop along to a local studio if there is one to check it out and see the whole process in action and they be able to help guide you in finding what you need.

 

Agreed, as I mentioned, I'm new to hardware compressors so it's something outside of my knowledge. Thanks for the info

 

Here is a comparison:

This is what I want my tracks to sound like. I use this as my reference


He uses mostly solid slate plugins, and mentioned to me that he has one hardware compressor that he sends the whole mix through. Not sure what kind of hardware

Here is mine:




I'm pretty happy with the overall mix and the mastering, but the low end is just not the same, and it has more of a digital sound to it. There is something about analogue and low end that separate the two. My bass is there, but doesn't present the same low end as his. He has different methods to mastering as well, which I think I will emulate.

Like the video one of you supplied, each channel should be -3db or less for headroom. As for the master volume? I'm not sure...i didn't see any mention of that, but I assume that should be lowered as well for the final mastering so there is even more headroom. He mentioned he goes down to -12 for each track for lots of headroom.

As you can probably tell, there is more of a digital sound to my track as apposed to his. I didn't use any analogue emulators or any hardware. I just used OZONE 7.

 

Man.. you should close this topic and escape while you can. You've got people telling you to start your mix by mixing into a bus compressor and all kinds of horrible advice. Mixing into a bus compressor is an ever-changing sum. It means whatever you'd manage to get to sound ok through it wouldn't sound good without it. You mix the channels independently first to have good relative proportion and coherence. Then, you decide what you want to route to any number of busses. And you retain the option to remove single tracks from busses where everything sits superb in the bus except one track for example. Then, you can route all to a global mixbus should you choose.. and if you have a compressor on it you configure it to suit the overall mix. You don't sculpt a mix to adapt to the configuration of a compressor. You sculpt the mix first and then compressors and other post processors will pair well with it under all types of different settings. That's when you get your one click cd version, broadcast version, club version, etc. with no odd hassle.

 

Last edited: May 5, 2016

I never saw anyone advising to slap a master compressor as soon as you start mixing, the general advice is to slap it on as soon as you've got a rough balance. And of course you must configure masterbus compressor first.