Compressor Studio Help?

[Robson Santos]

What types of analog compressors would be most ideal for electronic music production studio (TECHNO, HOUSE), as I am setting up my studio and would like to have 2 or 3 different compressors.

Types;

1 - VCA
2 - FET
3 - PWM
4 - VARI-MU
5 - OPTO
6 - DIODO BRIGDE

Any suggestions?

 

[abbey road d enfer]

They all have different flavours, but much of the difference between compressors is due to:

• The topology, feedback or feedforward
• The side-chain, of which there is an infinity

The actual gain cell has less impact on the sound. Basically you can divide between clean (VCA, opto, PWM) and not-so clean (FET, diode bridge), with vari-Mu in-between.
Note that the distortion in FET and diode bridge is mainly 3rd-order. It turns out that a lot of processing in electronic music also, so you may not hear it significantly.

I think that no studio, whatever the style, can get away without a dbx-type VCA feedforward compressor. My personal opinion only.

 

[Robson Santos]

They all have different flavours, but much of the difference between compressors is due to:

• The topology, feedback or feedforward
• The side-chain, of which there is an infinity

The actual gain cell has less impact on the sound. Basically you can divide between clean (VCA, opto, PWM) and not-so clean (FET, diode bridge), with vari-Mu in-between.
Note that the distortion in FET and diode bridge is mainly 3rd-order. It turns out that a lot of processing in electronic music also, so you may not hear it significantly.

I think that no studio, whatever the style, can get away without a dbx-type VCA feedforward compressor. My personal opinion only.

Yes, I'm thinking the (VCA and DIODE BRIDGE) in a third could be a dirtier, because the style of music I work with I think would be better with dirtier, so it could be the (FET).
The DBX you say would be the DBX 160?

There are several schematics in the link.
https://dbxpro.com/en/discontinued_products

 

[PermO]

In my opinion, compression and EDM is a matter of taste / flavour, you don't need a compressor as a tool to tame dynamics like you would need one on a live drumkit, all these synths and drummachines have a pretty flat output by themselves.

I can fully recommend the FMR RNC1773, (3 serial VCA's) it's not fancy, it does not look fancy, just a cheap stupid little box.... that is a absolute great compressor, especially at that pricepoint.

SSL buscompressor is a very popular build, can't go wrong with that one I guess.

(edit, removed one S from buss )

 

[john12ax7]

Hard to go wrong with VCA and FET, they work on just about everything. Opto is very useful if you need to tame dynamics while tracking.

 

[mjrippe]

Opto is often the comp of choice for vocals (LA-2A), but I'm no EDM expert.

 

[scott2000]

the Sonimus Tuco is pretty nice...

 

[Robson Santos]

In my opinion, compression and EDM is a matter of taste / flavour, you don't need a compressor as a tool to tame dynamics like you would need one on a live drumkit, all these synths and drummachines have a pretty flat output by themselves.

I can fully recommend the FMR RNC1773, (3 serial VCA's) it's not fancy, it does not look fancy, just a cheap stupid little box.... that is a absolute great compressor, especially at that pricepoint.

SSL busscompressor is a very popular build, can't go wrong with that one I guess.

Yes, I agree and I found this compressor for music style interesting (TECHNO and HOUSE), in addition to serving, I saw that it has a huge cost benefit, because I have some compressor schemes, depending on whether I make my own, I am loving researching compressors and Interesting more about it, thanks for the indication.

 

[Robson Santos]

Hard to go wrong with VCA and FET, they work on just about everything. Opto is very useful if you need to tame dynamics while tracking.

Yes, I see a lot of electronic music people, including my style, which is TECHNO AND HOUSE, using VCA, FET in plugins, so I'm having a base there, not that they sound the same as the physical analog compressor, but it already opens a north for research and if I could have all the models it would be nice, I just need to find the one that suits me the most, because the music style (TECHNO and HOUSE), one style with more vocals and the other with less vocals, so I need a compressor that answer and I believe that I am on the way and with your help I will definitely choose the best.

 

[Robson Santos]

Opto is often the comp of choice for vocals (LA-2A), but I'm no EDM expert.

Yes, djs use this classic (LA-2A) in plugins a lot, I don't know because it's legendary or because it works well, but I've already researched it, it's better in vocals, because it's slow, but I think it's not the rule.

 

[TwentyTrees]

For me, which compressor I reach for depends on what problem I'm trying to solve. I agree with Permo that your dynamics will generally be much more stable right out of the gate with EDM compared to, say folk music (where I spend most of my time). With that in mind you'll likely be less concerned with levelling, and more so with taming spiky transients, modifying envelopes, glue, and "bounce" for want of a better word.

One way to hone down exactly what you're looking for would be to spend some time demoing the usual suspects in plugin form, get a feel for how they all differ (tone and compression character) and behave in different contexts, such as on the stereo bus, on vocals, synths, drums, etc. Though if you prefer to just dive in and see how you get on, I'd personally start (and indeed, I did start!) with a VCA bus compressor - SSL-style if you're DIYing it, or FMR RNC if you want something off the shelf.

Hope that helps!

 

[Robson Santos]

For me, which compressor I reach for depends on what problem I'm trying to solve. I agree with Permo that your dynamics will generally be much more stable right out of the gate with EDM compared to, say folk music (where I spend most of my time). With that in mind you'll likely be less concerned with levelling, and more so with taming spiky transients, modifying envelopes, glue, and "bounce" for want of a better word.

One way to hone down exactly what you're looking for would be to spend some time demoing the usual suspects in plugin form, get a feel for how they all differ (tone and compression character) and behave in different contexts, such as on the stereo bus, on vocals, synths, drums, etc. Though if you prefer to just dive in and see how you get on, I'd personally start (and indeed, I did start!) with a VCA bus compressor - SSL-style if you're DIYing it, or FMR RNC if you want something off the shelf.

Hope that helps!

Yes, it helps a lot, each message is important and I fully agree with Permo and you, as I am studying about it, in fact I have some schematics of good compressors, but I still don't want to DIY, until I know the most suitable one, I will follow the suggestions important and fall deep studies and in the plugins and see hear the flavor of each type of compressor, but really the starting point for the choice is the set of information of the forum and studies.

 

[Script]

The RNC 1773 (especially in Nice mode) doesn't really have much of a sound of its own. Some may say it not only is boring as a comp, but it also sounds a bit dull. Well, definitely not a sound machine, but very OK as a cheap general comp. However, I found it is not so good for taming bass-heavy electronic program material and is also not good at all for treating transient overshoots.

SSL comp indeed is a good one should you decide to build. The GSSL vanilla is a classic not only in hiphop. Also good because it is somewhat customisable, especially if you skip on fancy pushbutton switches, expensive metre and prefabricated faceplate -- and instead drill/paint your own For electronic music I'd recommend pots for ATT and REL instead of fixed values on rotaries. Also, there's a quasi-feedforward mod and a 1.5:1 RAT mod. As for sidechain filtering, one could try and stick a (cheap Chinese) tone-board into the sidechain as a quick approximation to all the tilts, slants and smiley curves anyone could ever possibly need.

 

[Robson Santos]

I've seen this one from crane song, does anyone know this compressor, does anyone know something, if it's good.
http://www.cranesong.com/trakker.html

 

[TimG]

The RNC 1773 (especially in Nice mode) doesn't really have much of a sound of its own. Some may say it not only is boring as a comp, but it also sounds a bit dull. Well, definitely not a sound machine, but very OK as a cheap general comp. However, I found it is not so good for taming bass-heavy electronic program material and is also not good at all for treating transient overshoots.

SSL comp indeed is a good one should you decide to build. The GSSL vanilla is a classic not only in hiphop. Also good because it is somewhat customisable, especially if you skip on fancy pushbutton switches, expensive metre and prefabricated faceplate -- and instead drill/paint your own For electronic music I'd recommend pots for ATT and REL instead of fixed values on rotaries. Also, there's a quasi-feedforward mod and a 1.5:1 RAT mod. As for sidechain filtering, one could try and stick a (cheap Chinese) tone-board into the sidechain as a quick approximation to all the tilts, slants and smiley curves anyone could ever possibly need.

The RNLA7239 is nice, more colorful alternative to the RNC1773. I have both.
Also the RNLA "Attack & Release controls are calibrated in the famous and coveted Tufnel scale."

 

[Phantasm]

Definitely a good idea to have a choice for different flavours. I make Hip Hop so in many ways similar equipment and sounds used to house/techno, just used differently. I have a vari-mu, fet. vca, tube. etc... and all do certain things well on different sources. I find it unnecessary to use a vari-mu on a clean drum machine kick for example as that defeats the point of the vari-mu's design for me which is much more suited to a varying level such as a drum loop sample from an old record to make the most of the level dependent operation rather than a kick at the same volume on each iteration where a vca will do just fine.

I note that you're looking at the crane song - I have no experience with that but shows me the budget you're looking at. I can fully recommend the Elysia Xpressor which is the most versatile compressor i've ever used - no idea why people go for SSL bus types instead of an Xpressor now as it's so good and much cheaper. It can do transparent bus compression or add grit/warmth or get freaky on a drum track with negative ratios and able to add pumping effect which should be useful for house/techno and with on board and external side chain control, parallel control, etc.. is full a useful tricks Also, if you're looking into 500 series gear the Elysia mpressor 500 is almost equally flexible. I use the mpressor 500 on every track somewhere, drums, bass, instruments, etc... and have the Xpressor on master bus. Would love a 2nd master bus to switch between and use the Xpressor elsewhere one day when funds allow just to get the best of the Xpressor. 500 gear is great for space saving plus you can really tailor your set up with individual modules instead of 19" stereo/dual mono units that you only use 1 channel of. With the 11 way racks you can get 11 modules in the space of 3U's which is amazing for us small room dudes.

I don't have these but research (and on the wants list) shows a Distressor and Kush Tweaker also very flexible if you're limited to only a couple units like most of us home studio types. Something like an LA-2A is great but very much great for only a few things and less exciting on electronic sounds. Don't dismiss a DBX 160 type as they're great on drums and cheap. My next comp purchase will be the 560 (160 in 500 format). Also next in line for me for variety I'm looking at Acme Opticom 500 (like a LA-2A with 3 speed control so a little more flexible plus cheaper than an LA-2A), TK Audio TKomp (modern take on vari-mu) and SSL LMC all in 500 series. All quite affordably priced for more flavours and flexible use with those except the LMC which is just a drum smasher but amazing at it and cheaper than an 1176. At the end of the list is a IGS Audio blue stripe as the demo's i've heard of those are superb for crunchy drums and a slightly different 1176 flavour and the IGS Photon which is an LA-3A/4A type with added control but that's really when I'm done with the others.

If looking at vari-mu I can fully recommend the Weight Tank from Locomotive Audio as has a drive feature which adds some lovely dirt when necessary by changing the bias of the circuit. That and the mpressor 500 are without fail on every track I make and usually between them on drums and bass duty.

If you hadn't noticed yet - I am a compressor geek. I even still like my old TL Audio now and then on a few things which many would disagree with nowadays but for crunchy Hip Hop works great as they're a bit gritty. I also still find a lot of good use for my TC Electronic Tripple C for multiband compression which isn't too common in other compressors which comes in very handy with samples plus the envelope mode for an almost transient designer effect. Cheap also.

Hope the rambling helps.

 

[Robson Santos]

Definitely a good idea to have a choice for different flavours. I make Hip Hop so in many ways similar equipment and sounds used to house/techno, just used differently. I have a vari-mu, fet. vca, tube. etc... and all do certain things well on different sources. I find it unnecessary to use a vari-mu on a clean drum machine kick for example as that defeats the point of the vari-mu's design for me which is much more suited to a varying level such as a drum loop sample from an old record to make the most of the level dependent operation rather than a kick at the same volume on each iteration where a vca will do just fine.

I note that you're looking at the crane song - I have no experience with that but shows me the budget you're looking at. I can fully recommend the Elysia Xpressor which is the most versatile compressor i've ever used - no idea why people go for SSL bus types instead of an Xpressor now as it's so good and much cheaper. It can do transparent bus compression or add grit/warmth or get freaky on a drum track with negative ratios and able to add pumping effect which should be useful for house/techno and with on board and external side chain control, parallel control, etc.. is full a useful tricks Also, if you're looking into 500 series gear the Elysia mpressor 500 is almost equally flexible. I use the mpressor 500 on every track somewhere, drums, bass, instruments, etc... and have the Xpressor on master bus. Would love a 2nd master bus to switch between and use the Xpressor elsewhere one day when funds allow just to get the best of the Xpressor. 500 gear is great for space saving plus you can really tailor your set up with individual modules instead of 19" stereo/dual mono units that you only use 1 channel of. With the 11 way racks you can get 11 modules in the space of 3U's which is amazing for us small room dudes.

I don't have these but research (and on the wants list) shows a Distressor and Kush Tweaker also very flexible if you're limited to only a couple units like most of us home studio types. Something like an LA-2A is great but very much great for only a few things and less exciting on electronic sounds. Don't dismiss a DBX 160 type as they're great on drums and cheap. My next comp purchase will be the 560 (160 in 500 format). Also next in line for me for variety I'm looking at Acme Opticom 500 (like a LA-2A with 3 speed control so a little more flexible plus cheaper than an LA-2A), TK Audio TKomp (modern take on vari-mu) and SSL LMC all in 500 series. All quite affordably priced for more flavours and flexible use with those except the LMC which is just a drum smasher but amazing at it and cheaper than an 1176. At the end of the list is a IGS Audio blue stripe as the demo's i've heard of those are superb for crunchy drums and a slightly different 1176 flavour and the IGS Photon which is an LA-3A/4A type with added control but that's really when I'm done with the others.

If looking at vari-mu I can fully recommend the Weight Tank from Locomotive Audio as has a drive feature which adds some lovely dirt when necessary by changing the bias of the circuit. That and the mpressor 500 are without fail on every track I make and usually between them on drums and bass duty.

If you hadn't noticed yet - I am a compressor geek. I even still like my old TL Audio now and then on a few things which many would disagree with nowadays but for crunchy Hip Hop works great as they're a bit gritty. I also still find a lot of good use for my TC Electronic Tripple C for multiband compression which isn't too common in other compressors which comes in very handy with samples plus the envelope mode for an almost transient designer effect. Cheap also.

Hope the rambling helps.

Yes, I saw that you understand a lot, like some here too, but I will follow your tip and everyone else's here, I learn more and more, and following with the plugins that TwentyTrees indicated here, the ones you mentioned here, I will examine the manual and plugins .

 

[Phantasm]

Yes, I saw that you understand a lot, like some here too, but I will follow your tip and everyone else's here, I learn more and more, and following with the plugins that TwentyTrees indicated here, the ones you mentioned here, I will examine the manual and plugins .

Yes plug ins are a good way to get an idea of the hardware. Plenty free versions of them now too that might not be perfect but can give you a flavour to see which you think will work for you.

 

[Whoops]

I've seen this one from crane song, does anyone know this compressor, does anyone know something, if it's good.
http://www.cranesong.com/trakker.html

Everything from Crane Song is good.

I like all types of compressors, the character of each will dictate where and how I will use it.

Saying this, for a bus compressor at least my preferred unit is the API 2500