@@Producelikeapro I know. I reserve my judgments... Vance Powell swore by it. I tried it. It just makes everything sit right. Like unruly children in a classroom. Gets every thing to be in place.
I dont think i ever liked the compression i got on my 2 bus until i got a hardware ssl g comp, all the sudden i got why so many of my fav records sounded the way they did
I'm mostly a guitarist but love learning about recording gear. All my gear is home studio grade right now but I'm SLOWLY upgrading. I'm running an Alesis 3630 currently, which was a huge step up from a Nano Compressor. Great vid. Really loving the content... 😊😊😊
At the studio facility we've worked with a Urei 1178 which has a phenomenal character to it. At home my favourites right now are the UAD distressor, as well as the UAD Manley Vari-mu (its almost always on my mixbus) and I love the UAD Fairchilds, they just thicken up the sound so nicely. Also there's pretty much always the UAD 1176 on a mix or production somewhere as well.. As for multiband I love the Lindell MBC right now, it has such an analog vibe. I do have the SSL Bus Compressor (with the UC1 and UF8) and it's great, but not on every occasion.
Black Lion here. I have their Seventeen which is their version of a 1176. I can highly recommend them. I also have their Bluey. Which is CLA's LA2A. It's really nice on vocals. I will use the 17 in conjunction with the Bluey 99% on vocals. I also have two Art Pro VLA Tube Compressor. I use them on many different sources, from drums to guitars/bass to banjos to vocals. Because the VLA is stereo. I also have also placed the VLA on my Sub Mix as an insert it does a great job as glue.
I use the WA76 in conjunction with the 2A-KT. They are budget compressors but I love them both. Especially the wa76. I also have the RNC 1773, a 76-KT and the dbx 266XL comp/gate 2 channel unit. I’m in budget hardware comp heaven.
Great video! I started, back in the mid 80s, tracking on my Portastudio with a dbx 163X Over Easy Compressor, which is an amazingly forgiving compressor that really gives good results. I mean, there's just one dial for gain and one slider for amount. How can you go wrong? Great little workhorse.
Hi Warren, all this quality equipment is very expensive and even more so if they are stereo, could we pass a stereo signal through a mono equipment, passing l and r separately, process them in the same way and join them again in a stereo file? Would there be problems? Thank you for your teachings. Kisses from Palma de Mallorca
Here is my collection 2x UREI LA-4A with EC mods, Alan Smart C1, API T25, JDK R-22 , DBX 166A - DBX 166XL . UA 1776, WARM WA 76, 2x Daking 9179 FET. I also have 2x Joemeek channel strips with his opto compressor's built in. All this routed through an SSL Matrix with it's digital insert patch bay.
Great video!!!!!..... I think that at least one of the Audioscape 76 compressors should have been mentioned... Their 1176 style compressors are absolutely amazing in my opinion!!!!!....
Haha, yes, the Empirical Labs Distressor runs on Secrets :) That made me laugh. It's a very useful and cool box of tricks. I've wanted a pair of these for over 20 years. No love for the LA-2A here though? I'm surprised. I'm kitting out my project studio now, I plan to buy a Warm WA-76 and GAP Comp 2A and DBX 160, FMR RNC, before the Distressor. Just because the four cost about the same as one new Distressor. But after that, I'll be saving up. Until then, it's learning it, via the plugin approximations (UAD & Arouser). For sheer vibe, I think a 76 and 2A are more characterful, and for utility compression, there's great plugins both for compression, and saturation (HG-2 Blackbox, the Arturia ones and Soundtoys Decapitator/Radiatior.
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@@top5dummy It is cheap garbage but I don't think they should stop making gear, if there is a demand and market for it. An affordable choice for the consumer is IMO a good thing. Warm Audio isn't prohibiting boutique gear from being made.
Warren, I know your a busy man but wondering if you have a min if you could throw any light on the SSL pure drive octo pre released around a couple of month or so ago, have you tried one or familiar with the unit ? Any thoughts ? I know the pre’s are from the Origin console Thanks man Take care and have a awesome Xmas
Warm is prosummer and are all over reverb & ebay .. people buy them and get rid of them quick. Says everything, save up or check out some other brands. Warm has a few decent mics , but they are thin , stay with plugins if your burying Warm Hardware. CL-B from Tube Tech are selling at premium prices, as they are lifetime purchases and if you need to sale safe investments. Just my 2 cents. Some love the Warm , just not my thing .
The Warm CLiB clone is nowhere close to the Tube Tech….better off using the plug-in than the Warm. In every demo video online the Warm bottoms out on the low Mids. Use the money and buy a Distressor instead.
Surprising to hear the repeated pushing of the Warms. They fall into the category of "looks like what it 's imitating more than it sounds like what it's imitating" and are cheap because the components and assembly are cheap. Has this been reviewed for compliance with the FTC's guidelines under the Consumer Review Fairness Act?
I've just read your comment after leaving mine! I have the stereo Xpressor and the super quick to super slow attack and release times on these make them ssoooo useful. It took me a while to get to know it as just a small movement on the attack time can take you from super quick to medium but once you've got it worked out it's a total work horse of a unit. I love mine
@@whisperthiefmusic I also have the Xpressor 500. But that sounds entirely different, the Mpressor is another animal and what it does on drums I cannot get it out of Xpressor
I've hit the point in my life that I own everything you've labeled as your top favorites in this mini-series, and in many cases I own pairs. At one point in time I remember thinking that a $300 microphone and a cheap interface was all I could ever afford. I couldn't have dreamt of being where I am today with a studio filled with the best gear. I love my job.
@@stevenwhite3749 Hey Steven. Just so you know I wasn't born into money. I started out my career broke as a joke. If a dummy like me can do this then anyone can. Do it big.
My top 5… 1) Distressor (This is the most versatile compressor ever made so get this first.) 2-5 in no specific order… 2) CL-1b… super smooth… THE #1 vocal compressor. 3) MC77… best 1176 emulation, sounds great, superior build over any other emulation 4) Neve 33609… incredible on the drum buss and great on mix buss if used gently 5) RND Master Buss Processor…. an incredibly flexible compressor. The SFE module is ridiculous, the silk modes, and the limiter just put it in my top 5. Honorable mentions: the Manley Vari-Mu and Fairchild.
Ooh I've been waiting for this one, can we get a video on the new ELI Pump vs Distressor? I am very interested in making this my first 500 series choice Yes to 1176 at the end of a chain
FMR RNC should have been mentioned. You can cop one for about 300 bucks and it sounds and does what a 1000 dollar compressor can do. The Really Nice Compressor. If you only got 400 buy that one. If not save your money till you got about 1200 or more.
The MC77 is the best 1176 option. It sounds just as good as the originals but the build quality is far superior. On a side note: its so disappointing to see how Sweetwater and Warm Audio are gently twisting the arms of so many YT influencers. Warm Audio cuts corners on parts, build quality, and QC. Their gear is junk and has no resale value.
Couldn't agree more. Two guys I know bought the 1176 and it's barely useable. Imparts some 'grit' that sounds more like unmusical distortion. The build quality leaves much to be desired, as well. Spend the extra money and get the Purple.
EL's Arouser, UAD Stuff and some Brainworx mastering compressors. Haven't gone hardware yet, but it will be a set of Distressors. The Arouser works very well from them. Good stuff Warren!
So this whole video is nothing but a shill video for sweetwater? Man, what happened to you, Warren? You're the last one I thought would become this. Same way you always talk about how much you love your Vertigo pre, but in your preamp video about your favorite preamps you never mentioned it because Sweetwater doesn't carry vertigo. Sad times that both Sweetwater, and you, have gone down this path.
I don't own a Vertigo Pre (I had one of Jack Douglas several years ago for extra pres) so I wouldn't have mentioned it. I used to own a Vertigo Compressor a few years ago. I did the video at Sweetwater because I was teaching a MasterClass there.
It’s a distressor or for me. Swiss Army knife of compression. But… I have admit guys: in the last five years it’s all gone. No hardware left. I have to be honest with myself, for the last couple of years, in a mix I can no longer tell the difference between software and hardware. It still love to be able to justify a big room full of classics though…
My choices are a bit different than yours. My compressors are: Rupert Neve Designs Master Buss Processor, 5043 (2), 543 (2), API 2500, 527 (2), Daking FET3, Manley ELOP+, Elysia Impressor, Warm WA-76, WA W2, Drawmer DL441, and of course, the cheap but cheerful ART Tube Limiting amps.
I got a Fatso from empirical labs few different compressor choices on it. def diggin it, especially the Bus option on there. Have the SSL bus compressor also and with the warmth the Fatso gives me a color I can't get with the SSL
This is odd because the engineer who recorded the biggest selling record of all time (thriller) said, the only compression used was a tiny little bit of the 1176 on Michael Jackson's voice, and there no compression anywhere else on the record during the recording process, and to think, I just dropped a bundle on a tube tech compressor, now I'm wondering why? He said they used ribbon and dynamic mics on Michael's voice, no fancy, overpriced condenser mics...
Because the talent was enough and we are also talking about one of the best in the game with Quincy and his ears. To top it all off he used Auratones as his monitors!!!!!! Lol all of this is bonus. It’s not necessary to make a great record. Solid talent and It’s not the gear it’s the ear.
As a low budget home studio guy, I'd love to see your "best bang for the buck" video on pre-amps and compressors. I'm using a Presonus StduioLive 32 SC as my main interface but for vocals I first go through my Behringer Tube Ultragain Pro 11953 stereo Pre-amp into my ART Pro Vla II compressor. These run into channels 1 and 2 on my mixer with the gains properly adjusted. I'd love to get into the high end gear but I simply can't justify it nor afford it. It's just a hobby studio. But a nice little one.
I wholeheartedly agree. More advice on moderately priced gear would be beneficial. I imagine there are more of us watching Warren than top end studio folks (of course, they view) simply because there are more of us out here with more moderate studios.
Loving this top-5 series. Thank you Warren. For compressors here are some of my favourites:: SLA level - it's a beast of a mono valve compressor. Epic on vocals. Mine is made by Giles Audio Valley People 610 - super fast , versatile. Reliable. the dBX DDP - which is a digital compressor from dBX - now discontinued. I recommend people check that out... amazing functionality in a one-RU box
My favourite compressor that I own is the Warm Audio Bus Comp. But I think my favourite I would love to buy is the Weight Tank by Locomotive Audio (a vari-mu compressor) and the TubeTec cl-1b. I would love to have those 2 one day in my life. Now in terms of plugins I love the Acustica Audio Titanium 3. And I love the UVI Opal and I love the Leapwing DynOne 3. On a mixbus I’m gonna reach for the God Particle
I use a distressor on my vocal chain. Telefunken TF51 into a 737 into a distressor. was going to stretch my budget super thin and splash on a CL1B but I opted for the distressor. If the warm had been available, i'd have possibly gone for it.
Thanks Warren! I needed this. I want hardware, have never had hardware compressors or the like. I've started that direction with the SSL UC-1 for my first hardwarish piece of EQ for mixing besides monitors, mic and interface. Everything else is 'in the box'. So, with starting my hardware build, beginning with the SSL 360 model, using my UC-1 gives me the SSL Native 2 channel strip for both EQ and Compressor, my other favorite is my SSL 2 channel bus compressor. Handling these main plugins with my UC-1 gives me the feel of using a console through my PC. My next piece is the UF-8 for sync with UC-1. All that being said, I know I will want to add hardware compressors so, with that in mind, wanting an all around great compressor for a variety of instruments and vocals, and possibly as a 'end of the chain' bus compressor, which hardware compressor would you recommend for my build? You Rock!
I own a ton of compressors and have built a ton. The best sounding most all round comp IMO is the Great River PWM 501. It’s a better sounding more flexible distressor. I do enjoy distressors but the 501 wins.
I was surprised API wasn't in the list to be honest. There were two gorgeous API desks sitting in the shot the whole time, so I guess they still 'got the face on television'. I would have thought the 2500 would be on many people's list.
I love my 2500 - it's on literally every mix. I also use a Manley Vari-Mu and Massive Passive after it when the material calls for it. (incidentally, the console they're sitting at is actually a Rupert Neve Designs 5088 - also a beautiful piece of gear!) @@JulesFox
If you could somehow set those rack comps up to be controlled by a naff looking circa-2000 plugin (kind of like a blind test), I wonder if it would change your opinion of then.
My first experience with a Vari Mu was having a project mastered at Capitol. I was watching the thing carefully and the needles never moved. I asked the engineer if it was on?. He said oh yes, and I mentioned the needles weren't moving. He then explained why he rarely ever wanted to see them moving more than a pinch......He told me, as you stated, if you see them really moving it's too much. In the $1000-2000 range, the WA-1B and Distressor are compelling options. For $1200 you get very VERY close to a classic, and for a few hundred and change more, you get ultimate versatility.......????? 🤔. Think about this, you can have both of them, for less than one CL-1B. I think you're pretty much covered if you can only have two hardware comps 💁♂👍
Thanks ever so much for sharing! I owned one for years too! It was amazing for clamping down percussion, however the very slow release time meant the choking that occurred was a bit much for me.
I think the best imo is the dw fearn vt7. Just landed one a month ago and my sweet goodness. Amazing for vocals, no artifacts. So much dimension for mix bus
Dear Warren and fellow PLP community, I know the following question is out of the video’s context, but I would appreciate your feedback on this important decision. I’m thinking on switching from my Mackie CFX20 console to a Tascam M-2425. Does any of you know something about this console? Do you recommend it? I’m trying to level up my recordings and mixings as well, that’s the reason why I’m pursuing a new mixer. I thank you in advance for your help
Great video and great selection. Two of my favourites that weren't featured: 1. Thermionic Culture Phoenix 2. Valley People 610 (which I've had for a long long time).
@@galgogergo Buzz Audio SOC 1.1. Words can be so subjective, here goes : I find it has a presence , a sheen ,authority solidity if that makes sense. Kind of use it on everything at tracking ,to taste, and great for 2 buss. Great metering , which can help one perhaps back off preamp levels at times 😎. Really good for guitar stems . From memory I believe it’s an opto design but fast for an opto. Definitely has a vibe. Great for vocals and bass. Hope that helps.
@@MrTele57 yes, thanks! Could you compare it to other comps? (Especially optos if possible) I've heard people say it reminds them to the Tube-tech, interestingly.
Thanks for the awesome video Warren! My personal favorite brand is Chandler LTD and I know you love them as well. I would love to hear your direct comparison between the TG1/Zener and the Audioscape D Comp. I have heard mixed things about Audioscape and I have yet to see direct comparisons with sound clips.
Tube-Tech is not the same without the EQP-1A or pe 1c boost then attenuate sounds amazing. i like the snappy Eventide Omnipressor and having one compressing and another expanding (too much attack, watch out), get the idea from Pultech p-1a. Smooth it out with MC-77, you need to set the mc right, then superbass with the p1a.
Great mini series, marvelous content as usual. I'd love to see a follow up series based on the 2nd hand market and hidden gems / secret weapons. For instance, no one really talks about Orban or similar products available at decent prices in EU & USA. 😊
Compressors are way over priced right now. An 1176 should not cost 3500 bucks in Canada. What a complete rip off. No way in hell that thing costs 3500 to make and ship out. More like 500 bucks.
