How to tell from compressors

[jim1960]

Originally Posted by Brent Hahn

The long story -- I'm still using a PT TDM system, and I've got a 192 box that's just doing i/o inserts. In my day job I get lots of voice tracks (VO mostly) that are done in home studios, often using less-than-great gear. So the 192 has two dbx 160xt's parked on it for overall smoothing, two UTC A-20's (ca 1970) for moderate tonal mellowing, two Stancor A-4407's (1949) for extreme de-harshing, and two UTC H-25's (1967ish) that are none of the above, but do a couple other cool things. I had imagined I'd get some other hardware to swap in for at least the last two transformers, but so far I haven't.

What device are you using to incorporate the transformers into the system?

[Brent Hahn]

Originally Posted by jim1960

What device are you using to incorporate the transformers into the system?

This particular (ancient) Pro Tools rig has 3 choices for inserts -- TDM, RTAS, and i/o. The i/o is all done with (3) 192 boxes. 192's 1 and 2 are the main analogue i/o for the rig. 192 #3 only has the compressors and transformers connected to it. The eight outputs from 192-2 appear on the patchbay with the normalled inputs to 192-3 in the row beneath. On the bay, the next eight holes are 192-3's outputs (above) normalled to 192-2's inputs (below). Configured like this, you can use the i/o for something else and skip the device, or vice versa. The transformers themselves are all in their own dedicated little boxes with XLR in and out, but you could just as easily hardwire them.

[jim1960]

Originally Posted by Brent Hahn

The transformers themselves are all in their own dedicated little boxes with XLR in and out, but you could just as easily hardwire them.

That's what I was actually asking about. I'm familiar with setting up hardware as inserts. That's how all my outboard is set up (between my Avid Carbon and MOTU 16A, I have 24 channels). I was curious about the transformers.

In a somewhat similar vein, I recently picked up a used DIYRE Colour Pallette mk2 off Reverb and ordered a couple of the DOA Discrete Opamp Colour from DIYRE. I then purchased two opamps from Scott Liebers... his Red Dot and his Melcor. The opamps only just arrived so I haven't played around with them yet. I'm kicking myself a bit because around 15 years back I owned a Huntington 2520 which I wound up selling because I had no gear to use it in. They're next to impossible to find now and sellers want both cash and blood.

[Brent Hahn]

Originally Posted by jim1960

That's what I was actually asking about. I'm familiar with setting up hardware as inserts. That's how all my outboard is set up (between my Avid Carbon and MOTU 16A, I have 24 channels). I was curious about the transformers.

This all started because I mix live sound sometimes, and I got myself some used Jensen iso transformers to make hum eliminators -- put them in XLR boxes. Then I realized that if I had balanced trim pots in the boxes I could also use them to overdrive and then pad my API mic pres (which have no output control). Then I was given the guts from an old 35mm 4-track film dubber, and found out that those transformers sounded pretty different from the Jensens. and... down the rabbit hole I went.

[jim1960]

Originally Posted by Brent Hahn

This all started because I mix live sound sometimes, and I got myself some used Jensen iso transformers to make hum eliminators -- put them in XLR boxes. Then I realized that if I had balanced trim pots in the boxes I could also use them to overdrive and then pad my API mic pres (which have no output control). Then I was given the guts from an old 35mm 4-track film dubber, and found out that those transformers sounded pretty different from the Jensens. and... down the rabbit hole I went.

If you get a chance and remember, I'd love to see what those transformer XLR boxes look like.

[Brent Hahn]

Originally Posted by jim1960

If you get a chance and remember, I'd love to see what those transformer XLR boxes look like.

I've never started an Imgur account fpr posting photos here, but I will.

[jim1960]

Originally Posted by Brent Hahn

I've never started an Imgur account fpr posting photos here, but I will.

If you don't want to bother with Imgur, you can email the photo to me and I'll post it.

[email protected]

[Brent Hahn]

I've bothered -- it'll come in handy for other things and it's time I figured it out.

[jim1960]

Originally Posted by Brent Hahn

I've bothered -- it'll come in handy for other things and it's time I figured it out.

That's very cool. I'm not sure if using junction boxes would have occurred to me if I was trying to figure out a solution.

[KevWind]

Originally Posted by Brent Hahn

I've bothered -- it'll come in handy for other things and it's time I figured it out.

Yes Imgur is pretty handy IMO


How interesting,, and taking the phrase "add some iron" to the next level

[Brent Hahn]

Originally Posted by jim1960

That's very cool. I'm not sure if using junction boxes would have occurred to me if I was trying to figure out a solution.

Yeah, well, the metal "electronics" equivalents cost a fortune and they're a nightmare to drill. So not using those occurred to me right away. :-)

[kellyb]

To the question of how to hear different compressors, my experience (or lack thereof) is that many have a tonality, first and foremost. Yes, they have optical and FET and VCA and vari-mu knee/envelope characteristics, but when people are talking about that "classic FET sound" sound, they're usually talking about an 1176, which engineers use without compressing just for sound of its line amp. 1176's also brighten things IMO. Fairchild emulations darken them. Long story short, learning to hear different compressors is a lot more than hearing different compressor types. IME, if I don't like the sound, I couldn't care less what it's doing. The Distressor is a good compressor that will cover a LOT of compression tasks when they're necessary without branding the sound too much IMO.

"compressors are for kids" haha!

Lately compression definitely feels like a young person's sport in a way. Pop/rock music drummer types that show up to the studio and want their drums to sounds like they're playing them with monkey wrenches. Compressors are good at providing fake, manufactured energy which can be really interesting I suppose. When I think of good compression, I think of the Beatles and the RS-124 - a compressor that does plenty of gain management but somehow manages to leave the band alone. It absolutely does a thing, and (I guess) it crushes, but it still sounds like a band. I don't think that has much to do with the fact that it's a vari-mu compressor. There are lots of vari-mu compressors and none of them grab me like that one.

Lately, what's a lot more interesting, and what a lot of folks have already alluded to above is the "compression" characteristics of good audio! I use a Burl converter that has transformers and it has an attenuator so that you can run really hot signals into it and saturate its transformers. Tape machine bias adjustments are also great sources of compression.

[DupleMeter]

Originally Posted by Brent Hahn

Yeah, well, the metal "electronics" equivalents cost a fortune and they're a nightmare to drill. So not using those occurred to me right away. :-)

I once built a small circuit in an Altoids tin. Sometimes you just use what you have on hand.

[Brent Hahn]

Originally Posted by DupleMeter

I once built a small circuit in an Altoids tin. Sometimes you just use what you have on hand.

For small stuff where you need a rugged, pro-ish metal box, sometimes the best option is to buy a Behringer passive DI and throw away the guts.

[DupleMeter]

Originally Posted by Brent Hahn

For small stuff where you need a rugged, pro-ish metal box, sometimes the best option is to buy a Behringer passive DI and throw away the guts.

That's a good idea.