Any feedforward compressor / DIY project available?

[Di_Sousa]

Do Roger still sells units assembled by himself?

would you advise that instead of buying a kit and doing it yourself?

 

[emrr]

The Pico 500 module is only available assembled, as they proved difficult for the average DIYer to assemble successfully.  Basically Roger found he could build them himself for only about $50 more than he could sell the complete kit, and not get buried in support time.  I think Roger would build you a finished mono or stereo rack unit if you inquired.  He's working on a higher cost mastering specific version, to be released soon, I think. 

The basic parts list is quite reasonable compared to many projects, the documentation and support is ongoing at the forum.  My dollar was well spent buying a finished stereo unit he offered from a short run; I have very little build time these days.  I'd venture his labor rate for a finished piece was better than I could do valuing my own time input.  If you have the time, build it, it's not complex.  The meter card seems to give the most trouble.  I'd bet the costs are not far from a bare bones GSSL build; I'd like to see a $ comparison. 

 

[Di_Sousa]

Thanks Doug,
I'm finishing some projects now and I think I will consider doing the Pico compressor next.
So many people say wonderful things about it that I'm sure you cannot go wrong with it.

 

[gemini86]

Has anyone here used it as a mixbus comp?

 

[MartyMart]

Has anyone here used it as a mixbus comp?

Yes, it's wonderful can be very subtle and gentle or "squash the ****" out of it instead !!
Gorgeous compressor IMO

MM.

 

[ruairioflaherty]

Has anyone here used it as a mixbus comp?

I haven't done a single mix without it since I got mine, not one.  I record and mix quite a bit of Irish Traditional Folk music which in it's own lovable way is quite scratchy and dynamic.  I love how I can back off on the compression on individual instruments to let them breathe but the Pico glues the whole picture together.

The Pico just makes me look good! (or rather it makes me look like I know what I'm doing - it will take more than a box of bits to make me look good

Cheers,
Ruairi

 

[ruairioflaherty]

Do Roger still seels units assembled by himself?

would you advise that instead of buying a kit and doing it yourself?

Like Doug I have very little time for builds and have too many projects half finished so I bought mine assembled.  Fellow member Peter (Sinestar) built one recently so perhaps he'll chime in on difficulty level and costs.

Not sure what the situation on ready built stock is at the moment, I have another unit on order.  Will ask Roger to chime in.

Cheers,
Ruairi

 

[emrr]

My stereo unit has been on 99% of mixes done in the last year.  Usually very low ratio, and little movement.  Like 1.2:1 RMS with 0.5-2 dB reduction.  Brings out low level detail and presence; doesn't damage crest factor at all; lots of peaky dynamics left for mastering engineer.  A few metal bands got heavier mix use; 4:1 auto, which seems somewhat variable in timing and ratio.  You can set it so there's no compression most of the time, but pretty frequent erasure of 4-5 dB worth of drum transients.  Sounds very smashy in the right ways, with no real evidence of pumping.    Have had it on a few drum submixes at 7:1 RMS or auto, 10+ dB reduction.  You can drive it past 20 dB reduction and it will start erasing the drums and leave the room tone in a manner similar to the Valley 610, but more usefully so IMO.  A mix into it at -20 dB GR in RMS mode would be usable, assuming you liked the affect; it's that well behaved, and a Pico in many broadcast environments would be accidentally driven that hard with no one noticing a problem. 

I've tracked and been happy with it on drum overheads, snare, bass, vocals, acoustic guitar, mandolin, dobro.  Peak seemed more useful with acoustic and mandolin; there I prefer my Collins 26U limiter.  The Pico's here have generally equaled or bettered my Distressors and Langevin ELOP in delivered results, differences in a tie would be a matter of taste. 

We're drinkin' the cool-aid here!

 

[Gold]

I will join the love fest. It's a great sounding compressor. I don't have it in regular use.

I'm still sorting out the features I want. I look at RMS mode as a set and forget type compressor. Good for instruments and can do deep gain reduction well. I have a feeling I will go with only variable attack/release. I am on a mission to have only the bare minimum of controls I need.

I just got the parts for the sidechain board. I'll build that this weekend. I doubt I'll use it but I have to give it a shot.

The build is not difficult. The documentation is top notch. There are many posts on the forum that go into theory of operation if you're into that. The only difficult to source parts are the Nichicon Muse capacitors. You could use other bipolar electrolytics but Roger said he tried a bunch and liked those best. I built it and it sounded great so I didn't try anything else.

 

[Di_Sousa]

oh my god,
you are destroying me, I see that I have to put a lot of projects to the side, and starting this one!!!!!!!!!!!!!!!!!!!1

 

[gemini86]

oh my god,
you are destroying me, I see that I have to put a lot of projects to the side, and starting this one!!!!!!!!!!!!!!!!!!!1

I'm feeling your pain.!

I was just going to build a single mono, but looks like I'll spring for the stereo one...

 

[MartyMart]

Building the Stereo Pico was a piece of cake, great documentation and calibration details.

I was very lucky to get an original FCS front plate and case from Roger, he had an unwanted "second" hanging
around and was/is a VERY nice and helpful chap - we're still in touch.
He also very kindly sent me a replacement LED meter as I made a bit of a hash of my first one.

Hugh thumbs up for the Stereo Pico and I'm interested in the new "Ultra mix bus" version too !!

MM.

 

[Purusha]

Marty, is there any chance you could make some samples and put them up here?  :

You know the standard unprocessed sample VS compressed sample. Vox, drums, mix...

 

[ruairioflaherty]

Marty, is there any chance you could make some samples and put them up here?  :

You know the standard unprocessed sample VS compressed sample. Vox, drums, mix...

Purusha,

With the greatest of respect when are you going to get over the samples thing? I know this box intimately and samples will tell you nothing.  As Doug mentioned above one could crush a mix with 20dB of GR and that would demonstrate just how forgiving the Pico is but any other samples are just pointless.  The very beauty of the Pico is that is doesn't radically alter the sound when you compress.  No amazing snare smashing or popping ala 1176.  It gives really sweet dynamic control and adds a lovely weight to the sound.

I could make samples that I'm guessing would leave you underwhelmed yet working engineers all over the forum find this to be one of the most useful in their arsenal.  It's not vintage, it's not particularly sexy but it's a fantastic tool. 

In the mix bus I use it exactly as Doug described, super low ratio and 0.5 to 2dB of GR.  If I posted a sample of the mix with the compressor in and out it would be an unfair comparison because I would not build the same mix if I was not using the compressor inline.  My use of it in a mastering context again is usually very subtle and would not blow your mind but I do not want to be without it for my work.

Some general thoughts on samples etc - I don't want this to be directed at you Purusha, they are general observations

Preamp comparisons are boll**ks - I've partaken in a super accurate test which we constructed properly to really define the differences between preamps.  There were 3 preamps in that test - I've since sold the "winner", the pre that came second is in a console flight case unused by it's owner and the "loser" with it's edgy sound is in use everyday.

Compressor comparisons are another waste of time - compressors are such an interactive device and there is no possible way to compare different units based on the "same" settings.  Only using a compressor on different sources over time will tell you anything.

Eq comparisons!!  Don't get me started....


Try building a Pico, if you don't like it and you built it properly I'll buy it from you.  How's that for putting my money where my mouth is? 

Stay well,
Ruairi

 

[Purusha]

OK, I surrender  ;D

 

[ruairioflaherty]

OK, I surrender  ;D

That's the spirit!

Cheers,
Ruairi

 

[JohnRoberts]

Try building a Pico, if you don't like it and you built it properly I'll buy it from you.  How's that for putting my money where my mouth is? 

Stay well,
Ruairi

Look out for that offer...  I recall once back in my kit company days, when I encountered one customer who was impossible to satisfy. To stop his whining I gave him his purchase price back, even though I didn't officially sell with a money back guarantee. No surprise he then complained that I manipulated him to take advantage of his free labor.  ;D Sometimes even with money back you can't make everybody happy. I guess he was having a really bad week.

On the subject of listening to compressors, the better designed they are the harder to hear them working. The vast majority of what would be heard in samples should be the original sample... i.e. good sample sounds good, so-so sample sounds so-so. So the better the comp, the less useful a musical sample other than to reveal no obvious artifacts.

When I was designing such things I used tone bursts that were far worse than worst case musical sources, to stress circuits to reveal artifacts. A sample of something like tone bursts could be revealing, but only in comparison to other comps, and the original burst. Even then, on the bench, I had to use a wide range of burst duration, level steps, rep rate, etc, to parse out audible flaws in sundry designs.

Musical samples are a good final check proof, but rather limited for critical comparisons (IMO).

JR

 

[owel]

I recall once back in my kit company days, when I encountered one customer who was impossible to satisfy. To stop his whining I gave him his purchase price back, even though I didn't officially sell with a money back guarantee. No surprise he then complained that I manipulated him to take advantage of his free labor.  Grin Sometimes even with money back you can't make everybody happy. I guess he was having a really bad week.

John... please PM me the name of that customer. I'll start a "do-not-sell" list and he'll be the first entry.

 

[JohnRoberts]

That was over 30 years ago and I have long since erased any memory of his name...  I was more angry because he upset the poor girl who covered my phones for me when I was out of the office. 

The customer is always right, but that doesn't mean you can always please them, even by doing what they ask. In my experience the vast majority of complainers can be turned around into champions for your products. I suspect this guy didn't really want his money back but just wanted a pound or two of flesh. I can take abuse from my customers, it's part of the gig, but don't beat on my help. That isn't fair because she didn't have the authority to satisfy his demands.

JR

 

[emrr]

This just in:

http://www.gearslutz.com/board/4089941-post47.html

The Pico Comp ROCKS!! If anyone wants, smooth, clean compression [cleaner than MOST] with absolutely no artifact in the gain action, then the FCS Pico is really worth a try. Its been doing all kinds of differnet tracking duties at the Meth Lab as of late. I think its the cleanest comp we have in the frame at the time being. I find you can really dig down hard with this thing and never get a bad sound from it. Its fantastic for vocals, bass, kick, snare, acoustic, precussion, electric, and just about anything else that has to sound good.
__________________
Adam Brass
Mercenary Audio