Versatile Compressor

There are so many posts on this board about different types of comps: gssl, la2a, 1176, What, Forrsell, Week Joe, Hampton, Vari-q... Some are well documented as far as how they sound, thus their popularity. Others: What, Week, Forssell are not. I need to build one of these for my bass rig (for live useage), but I want something that will with very high quality handle vocals, guitars and drums also (for recording). What are the general opinoins of those of you who have experienced the What, Week and Forssell?

Tim

An opto will be nice IMO on bass and vocals, but not typically the type of thing you'd want on drums. The response time is just a little slow for drums.

I'm building up the Forssell comp right now, and it seems to be quite versatile in terms of its adjustablility. The variable ratio feature is nice (for an opto especially), though the ratio range is really only between 2:1 and 10:1, but since the kneee is very smooth you can work the comp at effectively a lower ratio by adjusting the threshold.

I think it's going to be a very useful compressor for my studio...certainly a good compliment to things like the SSL and 1176.

Cheers,

Kris

Yeah, opto looks very good if I have to compromise, but I wonder (since I have so little experience with these things), does a good vca beat a good opto in terms of versatility? I should have titled this post-

VCA vs. Opto: Versatility.

LIke anything else in audio it's all abiout how does it sound? Sometimes opto comps sound better on a perticular instrument or voice sometimes VCA's sound better. It's always good to have one of each and compare IMO. I usually will run an opto comp for a vocal and on some slow attack time stuff like bass(style dependandt) and do VCA on quick attack stuff like drums and so forth. Although again depending on style I have had good expierence using an opto on a drum track or 2. Basicly listen and decide but if you only got the cash to build one I would go with the VCA style. It would be a bit more well rounded then an Opto IMO.

hello, there,

There is unfortunately no such thing as a "Universal" compressor. nothing in my arsenal works in all your requested applications. There are other implications as well when choosing something to build. ie cost and ease of build/experience required/equipment necessary. If you have plenty of money, and are not scared of lethal voltages, you could build a La2a copy. Awesome on vocals, fat on da bass and, um, about as much use as a chocolate fireguard on drums(IMHO). if you don't mind something a bit more complicated to set up, an 1176 might fit the bill. Not my favorite compressor to say the least, but very very popular, versatile, good on bass, vocals, and best of all, great on kicks and snares. if you want something for mix-bus or drum sub-bus, then the G-SSL should be your port of call. easy to make, cheap and awesome! Recently i have been using one on vocal sub-groups, and even on a ld vocal -( f@@king great btw). Should sit nicely on a bass as well, but i've not tried it. G-SSL is very versatile, flexible, 3 ratios, switchable attack/release - here I am talking myself into recomending a mix bus compressor as an all rounder! Kinda makes sense tho', if you think about it! Won't cost a fortune, and if you don't like it on your bass, at least you've gopt something awesome for the drum bus, mix bus etc.
Forsell is amazing, but very transparent. would take the lumps out of your bass wonderfully, but I suspect that you would probably like to "hear" some compression going on.
Haven't tried the What yet, but I guess that like the Forsell, being optical will make it very transparent, which is not always what the doctor ordered, ironically.

Blah Blah Blah,

ANdyP

or you could build them all, and have no friends/social life/sleep likr the rest of us saddo's . . . . :green: :green: :green:

strangeandbouncy (sounds like a booty call I once had), you said chocolate firegaurd. This is hysterical, especialy if you have seen as many things burn as I have (I am a fireman). Truthfully, most things are as useful as chocolate firegaurd (quality is everything to me). I won't be using an La2a for the reasons you mentioned, though lethal voltages don't scare me yet. 1176, huh? This seems well loved, but could I cram it into a small unit and power it with a 24vac wallwart?

But what of this Week Joe thing. Didn't Mendelt build one?

Tim

I could have said "ashtray on a motorbike", but that relates to burning too! i only gave that reference relative to use with drums, not vox, bass, etc

:grin: :green: :thumb:

I understand. Thnaks for your advice.

Tim

what about the hamptone compressor? only 20.00 US to build.

I read about it but somebody said that it wasn't high quality - more of a learning experience.

tim

it's not bad, but after all it is only 20.00 and yes definately one to learn from.

Dirty/Weak Joe is basically the What with the option to crank ratio up! then compression becomes alot more audible. Something you possibly want for a *versatile* compressor... :grin:
That's why i have one in works, should be ready sometimes the next weeks. Just for a test if it is a usual allround line compressor. I will try to use it for basses mainly...

Martin

I'm looking forward to your impressions of the Week Joe. It looks like a very accessible project, something that I might do myself as I want a simple comp for my bass rig. But, because I am impatient I broke down and ordered the parts for a gssl (because I won't be sorry-I hope).

That's a good decision, too. :grin: I have an unpopulated but readily etched GSSL here for myself....just the next after the the green and the weak joe...
The weak joe i build is more like an extreme experiment :grin: since i build it up from a really ugly looking pcb (my first double sided home etch..) and 100% recycled parts out of electronics waste from the street (ok, i bought the opto)...i really wonder if it sounds good.

Martin