I adopted the Focusrite Red 3 from the get go, when it was released . I found it to be noisy, especially with 60 hz hum. After pointing it out to my dealer, Mike Harris , of Harris Audio in Miami and the importer, Chris at Audio One, I was lent 2 other units that exhibited the same problem..After going back and forth for day's with other owners that said I was crazy and that their units were fine. Some of these folks were big shots in the audio industry at the time, mind you.(Names committed to avoid a lawsuit, lol). Richard from Focusrite in England contracted me. Focusrite went back and inspected their built and found out that the power transformer was not grounded for 117 volt operation, when the power selector was activated. They went back and recalled the units and replaced the transformer. All I received for my effort was a T-shirt, some spare parts for my Focusrite 131,. and upgraded nobs for my Red 2..They should have given me the whole Red Range for free for saving their butts...
@@mixbustv A bit later, They let me demo a mic pre prototype of their new to be released "Green Range" before it came to market. I was working a long "lock out" project at South Beach Studios at the time. Used the unit for a while and came to the conclusion that the pre-amp section sucked but the high EQ was smooth and also provided some nice saturation when cranked a little. So I recommended they also include a line level option on the unit so the EQ section could be used when mixing. They adapted my idea. Only Received a Green Range baseball cap for my effort, this time around... Cheap bastards, indeed....
@@mississippijohnfahey7175 Focusrite today is not the one of the 1980'sand 90's. The downfall began when they introduced the Green Range (Mid 1990s) and moved their manufacturing to China.
@@CarlosGunX sounds like the people in charge made too much money, and gave up trying to make a difference in the world of music. It's sad, but it happens to most every successful musician too... A lot of audio companies have gone that way lately, I think. Too bad.. at least we have the internet now, so word gets around about who sucks and who rocks much faster and easier!
Your channel is a treasure trove. I’m amazed how come it doesn’t have more views. This is one of the best videos on TH-cam and you have extensive knowledge. Amazing.
Love this series! My first outboard compressor was the Dbx 160xt. At that point of time the real unit was (used) around the same price as its plugin version. Still love that thing!
I'll never get to own any of these probably but I do have an RNC (and RNLA) and damn that super nice mode is just amazing for tracking vocals, it's really some type of wizardry. Slow attack, fast release and around 4db of reduction just makes the vocals so mix ready and lessens the work required later.
amazing series! it's super valuable to get this kind of a comprehensive overlook on compressors from a seasoned pro. it steers me to listen to the characteristics in a new way when using my compressors. thank you!
Good explanation, you really know your equipment. But I'd also like to hear more about what makes you choose a VCA over another type, for a certain sound. VCA on a bus is pretty much a given, but what makes you favour a VCA on a kick, for example, over a FET. What do you hear in the sound that makes you say: This has to be a VCA. Or when you get to FET, what makes you turn of the VCA on an SSL channel and patch in an 1176. I'd really like to hear more about your though process behind these choices. And when you're done with compressors, I would love to see a series like this about reverb types as well. I hope you'll consider to do this.
Excellent bro. The big help is explaining what type of instruments/material each compressor is good on coupled with the "color" of each. The overall presentation is very helpful. You speak about gear like a painter which helps fine tune the "vibe" we are trying to create. Could you do an in depth tutorial or showcase on the Distressor. So many engineers that swear by it.
Hey buddy, great videos! I recently bought a Tascam 246, probably the best 4 track cassette recorder ever. Sounds amazing. It's a bit hard to control the levels going in, very jumpy compared to digital. I'm looking for a solid VCA compressor to help control the transients, something with a fast attack, for things like acoustic and electric, and vocals going in. Any suggestions?
David...you mention Drawmer equipment a lot in your videos...i don't have a any experience with it but sounds really impressive and it's inexpensive compared to other gear.
Hey David! Thx very much! On the distressor, Do you prefer to pancake Your drum crush for movement and rms?/ what else are you looking for on drum x ? I don’t understand why you never talked about the kush ubk1 as you are a true compression lover:)
Slate Digital came out with a Distressor in the Virtual Mix Rack - I am certain you have tried and compared it to your hardware. Please tell me, in your opignon, is this plugin version from SD a good representation of a Distressor ?
@@jjones7837 i mix stuff with heavier drums and i like that it's more grabby and the transients seem sharper the G seems a bit softer overall which is why it might be better for slower sources
Great video David! That deal on DBx 500 series seems like a steal! I was wondering if you had any thoughts on The Alan Smart C1 bus compressor. I believe Alan Smart helped design the SSL Bus compressor and then went off to do his own thing in the late 80’s. There is a 500 series Alan Smart C1la buss compressor that is pretty reasonably priced. I was wondering if you would recommend the Alan Smart products as an alternative to SSL as they are quite a bit cheaper and created by one of the original designers.
Help! The Sound On Sound article calls the Distressor a VCA compressor and the manual only mentions VCAs, but the Distressor page on Sweetwater quotes Dave Derr himself saying "it's a FET-based compressor, while the Pump is VCA". I'm thoroughly confused by this.
Can you describe when you say a compressor is "snappy?" Does it mean that it preserves transients? Or that it has a very fast acting release time? Still trying to get a handle on that term which I hear thrown around.
Thanks David ! Would like to know your opinion on RND Portico 5043 if you've had the chance to use one. Considering it is a stereo unit it may fall in the range of affordable ones.
Hello..do you have friends that produce dance music? In your opinion what is the best compressor for mainly 2 bus use to help make the mix near field without changing dynamics..up to 5 600 pounds..thanks so much
I just google imaged the circuit board of the distressor , the only component-markings that are “not” sanded off are the 2 capacitors from the power supply filter. Hahhh!! ....Wow top secret stuff
David, somewhat of a tangential question but related to outboard compression: I produce with analog synths from the 80's (hoping to find a way to pick up some of the new golden age of analog synths that are being made now, so amazing !), and there is something I haven't been able to get right: I usually track with a little compression on the way in (on everything), but I've been having trouble tracking really solid bass arpeggios. You know those low arps that are just rock solid and drive the song like a v12 engine on a go-kart. I'm having trouble at every level of their production, but what would be your compression strategy on this type of sound? Would you even compress? (would you compress outboard? Obviously, "better" compression in the box, more flexibility, but I'm an angry pixie kind of person, believe there is something to electrons being smashed into each other through analog components and heavy gauge wire- I'll still likely compress and eq in the box in the mixing stage, but I like to get as much done in the analog domain before going into the box - then once in the box, I like to stay there, I don't like popping back out for individual fx/processing, sometimes to go to tape... by why not go to tape initially ;) man, I swear this question started simple?) I've gotten really bassy and clean arps, but due to the sound design necessary to get to those tones on my synths (old 80's analog, well the somewhat affordable kind, don't have the flexibility of even a simple modern vst!), like driving a saw with a triangle sub osc into a highly resonant low pass, set low, with just the right filter envelop, I get the bass tone, but the sound is a bit too dynamic, and irregularly dynamic, at that, due to the funk factor of old vco's and their lively vcf's and vca's coming out of release back into attack phase (filter env not fast enough to catch transients of rez filter insanity when in vca gate mode, so have to go to the vca env), and weird implementations of controllers for all of these voltage based components. How to keep some of that organic liveliness that I go to outboard oldies like this for, but still rein it in and keep it rock solid and steady, staying out of the way of other elements of the song/mix? The outboard compression that I have to work with is a collection of the most villainous scum of the outboard relm - an old Presonus ACP-8 (secret dilla box, don't tell anyone), dbx 163x, alesis 3630, fmr rnc 1773, the comp in the sp-404sx, don't laugh, or even a boss cs-3 compressor pedal (THAT chip, noisy little box, but you don't need a noise osc in your synth when using it, or don't have to run it through "analogizers" or turn on fake noise in plugins!). Remember, all this is on the sound design/production/composition end of the spectrum, defo not the mixing/mastering end of the spectrum (it's a spectrum these days, no? the box allows electronic producers to be mixing in the sound design phase, which I suppose I'm doing a bit of, but I'm more getting texture, there is a later sweetening stage which I maintain as "mixing"). So after that book, sorry, what's your compression strategy on bass arp, what kind of settings? Any tricks? Secrets? That's why we're all here listening to you, you actually do dribble out a little bit of the real deal from time to time.
Hey David, nice video, I just want to buy 1 or 2 two analogue compressors for many reasons including the budget, of course, it makes sense to buy one VCA for the 2 buss and when you say that transparent is more flexible I completely agree with you, the thing that keeps me wondering is the fact that there are many VCA plugins that are transparent and do the job really good, whereas there is something about the analogue colour that is hard to imitate, what makes the analogue transparency different/better than plugins?, thanks in advance
Hey David ! Concerning de Focusrite compressor , I was thinking about buying the plugin version ( Focusrite red compressor ) but , is it worth it ? And , how many compressors plugins , generally speaking , worth the buy ? Thanks again ! Good video !
If you plan to purchase a vintage unit, be sure its NOT a third generation one. They have a -10db meter selector but no input-output transformers. First generation will have the rectangular knobs, replaced power supplies and transformers. . Second generation will have the pointier knobs, properly grounded factory power supply and transformers....
Hey David big thanks for this great video. I have a dbx160 x use it for pralell compression on drums and a ssl clone on the mix buss, I am looking for a cheap comp for the Snare and kik channels to limit a little and improve the crest factor on my mix that I do full analog. I was on the way to buy a drawmer 241 or a fmr nlc cause it's pretty cheap used what do you recommend for my tasks? So I seen the drawmer 251 on your video and thinking if it worth the extra 300 bucks for the use I am looking for. Thanks a lot for your great channel on TH-cam and have a nice day.
@@mixbustv thanks a lot for taking the time and for your advice I take it and wait for something like fatso or distressor when I ll be able to buy one. I bought recently a sansamp PSA 1 for saturation on drum buss in paralell and it works pretty well love how it sounds. Thanks again for your advice wish you all the best
Hey brother!! So about the distressor, what's the deal if somebody needed to repair one? I guess Mr.Derr wants people to send them in to Empirical Labs for repair, or is there accurate schematics out there that would show part values? On another note, I'm very interested in the Kush Tweakers as a possible alternative to a Distressor.(in terms of versatility)! Ever tried one? ; ) : ) : )
@@mixbustv Yeah I think this is because increasing the makeup gain would mean the detection stage would have a louder signal in feedback mode. I don't think in feedback mode the signal is run back as audio and compressed again as such, it's just in relation to detection.
Hello Mixbus. Can you please help me out I want to buy RNC compressor but it has unbalanced I/o Does it produces noice in my signal chain. My audio interface has both balance input and output how can I put it in my signal chain.thanks in advance.
Not related to this topic - which is great btw - but is anyone at Promix Academy aware that the site throws up warnings from antivirus solutions, with bold red warning icons before you even click of the search links provided?
Great video David. Lots of interesting info. Never knew about the secrecy behind the Distressor, very cool. Quick Q for you, I'm about to pick up a 500 series stereo compressor. The one that is most likely going to take my money is the _Dione as I really like their take on hardware in general, it certainly is an SSL on steroids. One thing though, have you ever had the chance to play with the Dramastic Obsidian 500? I am hearing stellar stuff about this, but the lack of a mix knob is sort of turning me away. I think the Wes Audio ecosystem is worth getting into, their Hyperion is supposed to be something else also. Any thoughts appreciated David :)
@@mixbustv Yeah, with the add-ons you get with the Dione and of course the price, it is a bit of a no brainer. I might just get that Titan rack and fill it up! Thanks for the info amigo :)
I adopted the Focusrite Red 3 from the get go, when it was released . I found it to be noisy, especially with 60 hz hum. After pointing it out to my dealer, Mike Harris , of Harris Audio in Miami and the importer, Chris at Audio One, I was lent 2 other units that exhibited the same problem..After going back and forth for day's with other owners that said I was crazy and that their units were fine. Some of these folks were big shots in the audio industry at the time, mind you.(Names committed to avoid a lawsuit, lol). Richard from Focusrite in England contracted me. Focusrite went back and inspected their built and found out that the power transformer was not grounded for 117 volt operation, when the power selector was activated. They went back and recalled the units and replaced the transformer. All I received for my effort was a T-shirt, some spare parts for my Focusrite 131,. and upgraded nobs for my Red 2..They should have given me the whole Red Range for free for saving their butts...
@@mixbustv A bit later, They let me demo a mic pre prototype of their new to be released "Green Range" before it came to market. I was working a long "lock out" project at South Beach Studios at the time. Used the unit for a while and came to the conclusion that the pre-amp section sucked but the high EQ was smooth and also provided some nice saturation when cranked a little. So I recommended they also include a line level option on the unit so the EQ section could be used when mixing. They adapted my idea. Only Received a Green Range baseball cap for my effort, this time around... Cheap bastards, indeed....
I hate focusrite. They offer terrible customer support (if any at all), and their products really aren't anything special for the price
@@mississippijohnfahey7175 Focusrite today is not the one of the 1980'sand 90's. The downfall began when they introduced the Green Range (Mid 1990s) and moved their manufacturing to China.
@@CarlosGunX sounds like the people in charge made too much money, and gave up trying to make a difference in the world of music. It's sad, but it happens to most every successful musician too... A lot of audio companies have gone that way lately, I think. Too bad.. at least we have the internet now, so word gets around about who sucks and who rocks much faster and easier!
Your channel is a treasure trove. I’m amazed how come it doesn’t have more views. This is one of the best videos on TH-cam and you have extensive knowledge. Amazing.
🙏
Your knowledge is impressive...
I look forward to the plugin video.
Same. I'm glood to my monitor. Can't wait!
Love this series! My first outboard compressor was the Dbx 160xt. At that point of time the real unit was (used) around the same price as its plugin version. Still love that thing!
I'll never get to own any of these probably but I do have an RNC (and RNLA) and damn that super nice mode is just amazing for tracking vocals, it's really some type of wizardry. Slow attack, fast release and around 4db of reduction just makes the vocals so mix ready and lessens the work required later.
amazing series! it's super valuable to get this kind of a comprehensive overlook on compressors from a seasoned pro. it steers me to listen to the characteristics in a new way when using my compressors. thank you!
The 500 variant of the DBX 160a is made in the US. Very good guide
Good explanation, you really know your equipment. But I'd also like to hear more about what makes you choose a VCA over another type, for a certain sound. VCA on a bus is pretty much a given, but what makes you favour a VCA on a kick, for example, over a FET. What do you hear in the sound that makes you say: This has to be a VCA. Or when you get to FET, what makes you turn of the VCA on an SSL channel and patch in an 1176. I'd really like to hear more about your though process behind these choices.
And when you're done with compressors, I would love to see a series like this about reverb types as well. I hope you'll consider to do this.
I love my Vertigo VSC-3. Sounds amazing!
very good overview of the VCA compressors
Thank you for this series, very informative. One of the best Mixing Channels on YT. Keep on rocking man.
Great video !!! You really know your gear brother !!! 🤘🏻🤘🏻
It just made me want a pair of Distressors even more. haha
Excellent bro. The big help is explaining what type of instruments/material each compressor is good on coupled with the "color" of each. The overall presentation is very helpful. You speak about gear like a painter which helps fine tune the "vibe" we are trying to create. Could you do an in depth tutorial or showcase on the Distressor. So many engineers that swear by it.
I own a Orban 424A stereo compressor it is a VCA unit that has a amazing character to it.
Epoxy control module their secret component
How is the character
Great video. Extremely informative! 👏🏼👏🏼👏🏼
Yes, awesome video, content and tips, tks Gnozzi!!!
Thanks David. Very good explanations.
Good stuff David. Thanks very much!
Hey buddy, great videos! I recently bought a Tascam 246, probably the best 4 track cassette recorder ever. Sounds amazing. It's a bit hard to control the levels going in, very jumpy compared to digital. I'm looking for a solid VCA compressor to help control the transients, something with a fast attack, for things like acoustic and electric, and vocals going in. Any suggestions?
I have the dbx 160x usa, and the FMR rnc compressor.. love them both..
What's better on rock vocals? in 500 series
@@JamesMartin_music Couldn't answer that, don't have a 500 series yet. Very soon though! I like the Rnc on vocals as far as the half rack goes.
Thanks! Great series! :)
Great video. Keep them coming
Awesome content man
Great idea for a series, thank you. Do you have any experience with the Kush Tweaker? Seems very versatile
David...you mention Drawmer equipment a lot in your videos...i don't have a any experience with it but sounds really impressive and it's inexpensive compared to other gear.
@@mixbustv I did watch Your review of 1978, I’m thinking of getting one myself...cheers
Thx man!interestint video!!!
I think next i will go for the wes audio dione😃
Good one ! Thanx !
So interesting for me. Thank you.
GOAT Gnozzi in the building!
Hey David! Thx very much! On the distressor, Do you prefer to pancake Your drum crush for movement and rms?/ what else are you looking for on drum x ?
I don’t understand why you never talked about the kush ubk1 as you are a true compression lover:)
Very nice video
Thanks!
Slate Digital came out with a Distressor in the Virtual Mix Rack - I am certain you have tried and compared it to your hardware. Please tell me, in your opignon, is this plugin version from SD a good representation of a Distressor ?
I haven't tried that one
I like the E-channel better that the g-bus on most sources
What do you like about it? What genres do you mix?
@@jjones7837 i mix stuff with heavier drums and i like that it's more grabby and the transients seem sharper
the G seems a bit softer overall which is why it might be better for slower sources
Great video David! That deal on DBx 500 series seems like a steal! I was wondering if you had any thoughts on The Alan Smart C1 bus compressor. I believe Alan Smart helped design the SSL Bus compressor and then went off to do his own thing in the late 80’s. There is a 500 series Alan Smart C1la buss compressor that is pretty reasonably priced. I was wondering if you would recommend the Alan Smart products as an alternative to SSL as they are quite a bit cheaper and created by one of the original designers.
MixbusTV thanks David! I’m gonna check out the full video you did on that one!
Help! The Sound On Sound article calls the Distressor a VCA compressor and the manual only mentions VCAs, but the Distressor page on Sweetwater quotes Dave Derr himself saying "it's a FET-based compressor, while the Pump is VCA". I'm thoroughly confused by this.
The distortion circuits are fet.
If you open up a distressor, all the components are sanded by hand to keep the design a secret
Amazing video. How do you feel about the dl251 on the mix bus?
MixbusTV what do you think of the RND 5043 on the mix bus?
I already know what the best VCA is... Vertigo VSC3 . :) haha
Thank David!
Can you describe when you say a compressor is "snappy?" Does it mean that it preserves transients? Or that it has a very fast acting release time? Still trying to get a handle on that term which I hear thrown around.
Thanks David ! Would like to know your opinion on RND Portico 5043 if you've had the chance to use one. Considering it is a stereo unit it may fall in the range of affordable ones.
Dave what's a good go to 500 series compressor for around 500 dollars that's good for stereo buss? And also what 500 series racks do you recommend?
without thinking....I'm looking for your 'reflex' reaction....dbx 560 vs fmr rnc 500? (btw..love your series)
Didnt andy wallace use only ssl board compression for nevermind, so channel comp on vox i guess? He said no outboard i believe
Andy pretty much always only used the G board for everything, but he did have a few 76s and 2As, PMC42s and not much more
Hello..do you have friends that produce dance music? In your opinion what is the best compressor for mainly 2 bus use to help make the mix near field without changing dynamics..up to 5 600 pounds..thanks so much
would you use the Distressor for mastering?
elysia mpressor? xpressor? nvelope? serpent audio sb4000?
for cheap... symetrix 501?
I just google imaged the circuit board of the distressor , the only component-markings that are “not” sanded off are the 2 capacitors from the power supply filter.
Hahhh!! ....Wow top secret stuff
👌 Subscribed
David, somewhat of a tangential question but related to outboard compression: I produce with analog synths from the 80's (hoping to find a way to pick up some of the new golden age of analog synths that are being made now, so amazing !), and there is something I haven't been able to get right: I usually track with a little compression on the way in (on everything), but I've been having trouble tracking really solid bass arpeggios. You know those low arps that are just rock solid and drive the song like a v12 engine on a go-kart. I'm having trouble at every level of their production, but what would be your compression strategy on this type of sound? Would you even compress?
(would you compress outboard? Obviously, "better" compression in the box, more flexibility, but I'm an angry pixie kind of person, believe there is something to electrons being smashed into each other through analog components and heavy gauge wire- I'll still likely compress and eq in the box in the mixing stage, but I like to get as much done in the analog domain before going into the box - then once in the box, I like to stay there, I don't like popping back out for individual fx/processing, sometimes to go to tape... by why not go to tape initially ;) man, I swear this question started simple?)
I've gotten really bassy and clean arps, but due to the sound design necessary to get to those tones on my synths (old 80's analog, well the somewhat affordable kind, don't have the flexibility of even a simple modern vst!), like driving a saw with a triangle sub osc into a highly resonant low pass, set low, with just the right filter envelop, I get the bass tone, but the sound is a bit too dynamic, and irregularly dynamic, at that, due to the funk factor of old vco's and their lively vcf's and vca's coming out of release back into attack phase (filter env not fast enough to catch transients of rez filter insanity when in vca gate mode, so have to go to the vca env), and weird implementations of controllers for all of these voltage based components. How to keep some of that organic liveliness that I go to outboard oldies like this for, but still rein it in and keep it rock solid and steady, staying out of the way of other elements of the song/mix?
The outboard compression that I have to work with is a collection of the most villainous scum of the outboard relm - an old Presonus ACP-8 (secret dilla box, don't tell anyone), dbx 163x, alesis 3630, fmr rnc 1773, the comp in the sp-404sx, don't laugh, or even a boss cs-3 compressor pedal (THAT chip, noisy little box, but you don't need a noise osc in your synth when using it, or don't have to run it through "analogizers" or turn on fake noise in plugins!).
Remember, all this is on the sound design/production/composition end of the spectrum, defo not the mixing/mastering end of the spectrum (it's a spectrum these days, no? the box allows electronic producers to be mixing in the sound design phase, which I suppose I'm doing a bit of, but I'm more getting texture, there is a later sweetening stage which I maintain as "mixing").
So after that book, sorry, what's your compression strategy on bass arp, what kind of settings? Any tricks? Secrets? That's why we're all here listening to you, you actually do dribble out a little bit of the real deal from time to time.
@@mixbustv Thanks man, I'll pick up a couple STC-8's then ;)
Hey David, nice video, I just want to buy 1 or 2 two analogue compressors for many reasons including the budget, of course, it makes sense to buy one VCA for the 2 buss and when you say that transparent is more flexible I completely agree with you, the thing that keeps me wondering is the fact that there are many VCA plugins that are transparent and do the job really good, whereas there is something about the analogue colour that is hard to imitate, what makes the analogue transparency different/better than plugins?, thanks in advance
@@mixbustv thanks a lot for the reply David, geeat info.
thank you
What analog compressor would you say Abelton’s Dance Aggressive Master is based off?
lol
Hey David ! Concerning de Focusrite compressor , I was thinking about buying the plugin version ( Focusrite red compressor ) but , is it worth it ? And , how many compressors plugins , generally speaking , worth the buy ? Thanks again ! Good video !
If you plan to purchase a vintage unit, be sure its NOT a third generation one. They have a -10db meter selector but no input-output transformers. First generation will have the rectangular knobs, replaced power supplies and transformers. . Second generation will have the pointier knobs, properly grounded factory power supply and transformers....
@@CarlosGunX Thank you so much Carlos !
Do you need a lunchbox for the dBA 560?
Hey David big thanks for this great video. I have a dbx160 x use it for pralell compression on drums and a ssl clone on the mix buss, I am looking for a cheap comp for the Snare and kik channels to limit a little and improve the crest factor on my mix that I do full analog. I was on the way to buy a drawmer 241 or a fmr nlc cause it's pretty cheap used what do you recommend for my tasks? So I seen the drawmer 251 on your video and thinking if it worth the extra 300 bucks for the use I am looking for.
Thanks a lot for your great channel on TH-cam and have a nice day.
I forget to mention I mix hip hop 90s style just instrumentals so no need for a comp so versatile for vocals etc.
@@mixbustv thanks a lot for taking the time and for your advice I take it and wait for something like fatso or distressor when I ll be able to buy one. I bought recently a sansamp PSA 1 for saturation on drum buss in paralell and it works pretty well love how it sounds. Thanks again for your advice wish you all the best
Have you try Acustica Audio plugin? I wanna know your tought about their modelling method.
Nope
How’s the Drawmer DL241 XLR? I know hardly comparable, bu still... it intrigues me.
It's a very underrated unit
Hey brother!! So about the distressor, what's the deal if somebody needed to repair one? I guess Mr.Derr wants people to send them in to Empirical Labs for repair, or is there accurate schematics out there that would show part values? On another note, I'm very interested in the Kush Tweakers as a possible alternative to a Distressor.(in terms of versatility)! Ever tried one? ; ) : ) : )
@@mixbustv Ahhhh I see! Thanks man!
On the API 2500 I thought the feedback is just in relation to the detection stage?
@@mixbustv Yeah I think this is because increasing the makeup gain would mean the detection stage would have a louder signal in feedback mode. I don't think in feedback mode the signal is run back as audio and compressed again as such, it's just in relation to detection.
Hello Mixbus. Can you please help me out I want to buy RNC compressor but it has unbalanced I/o Does it produces noice in my signal chain. My audio interface has both balance input and output how can I put it in my signal chain.thanks in advance.
@@mixbustv Thanks bro.
Not related to this topic - which is great btw - but is anyone at Promix Academy aware that the site throws up warnings from antivirus solutions, with bold red warning icons before you even click of the search links provided?
Great video David. Lots of interesting info. Never knew about the secrecy behind the Distressor, very cool. Quick Q for you, I'm about to pick up a 500 series stereo compressor. The one that is most likely going to take my money is the _Dione as I really like their take on hardware in general, it certainly is an SSL on steroids. One thing though, have you ever had the chance to play with the Dramastic Obsidian 500? I am hearing stellar stuff about this, but the lack of a mix knob is sort of turning me away. I think the Wes Audio ecosystem is worth getting into, their Hyperion is supposed to be something else also. Any thoughts appreciated David :)
@@mixbustv Yeah, with the add-ons you get with the Dione and of course the price, it is a bit of a no brainer. I might just get that Titan rack and fill it up! Thanks for the info amigo :)
Well, damn...GAS...
your not a pro if you don't have UAD
Lol 😂