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Macc wrote:Ionly the very best manage it.

Can you recommend any?

UAD Neve 33609 = king.

Sonalksis comp (forgot the number) = almost there, not bad

Waves API2500 - mmm, mmmokay. Great compressor plugin all round though really.

I dunno... sat here for a while thinking and only the 33609 really cuts it for me, of what I have tried. There's a few comps that are good for spanking and so on, but it still isn;t quite the same. Intangibles.

Seriously though, Summit DCL200 for example - if you could have just 2 minutes playing with that, you'd understand. I know it reads snobby, I know. But it's true. It literally takes 5 seconds to set GREAT sounding compression, and then you just get on with other stuff.

still giving a +1 for the stillwell audio rocket; great compression plug for what it does. definitely not transparent in the slightest, but in a great way.

Macc, did UAD get the 33609 done better than the 1176? The SE version didn't blow me a way but the full-CPU one... wowza.

not mentioned yet otium fx compadre
still jealous legendary gets to use the dw fearn valve unit i want

TeReKeTe wrote:still giving a +1 for the stillwell audio rocket; great compression plug for what it does. definitely not transparent in the slightest, but in a great way.

Macc, did UAD get the 33609 done better than the 1176? The SE version didn't blow me a way but the full-CPU one... wowza.

The full 1176 is one of the oldest UAD plugs and things have come a long long way since then. Even the 33609 is on the old side. The 1176 is alright, but still doesn’t quite have that special something (I still batter it when I have occasion to though!)

That said, I have used the real 33609 and the first time I used the UAD, it literally brought a tear to my eye. It’s without doubt (to my mind) the finest hardware compressor emulation on the market. It’s staggering. Just the make up gain stage is wonderful, the compression itself is, well, a 33609, everything about it is on the money. PDX has said about it before that the attack is often too much, it’s properly makes you blink Personally that’s exactly what I’d use it for. It’s staggering, even after three years or so it makes me excited and I’ve become a total total snob in that time.

how do you get good parallel compression without that shit tinny sound? or is that just part of the territory

^ sounds to me like yr getting comb filtering because of track delay that's not properly compensated for the DAW. are you sending the signal to a compressor via a bus? what daw are you using?

If you're getting lots of distortion that isn't fuck-yeah awesome sounding, increase the decay time and try backing off of all the other controls as well.

TeReKeTe wrote:^ sounds to me like yr getting comb filtering because of track delay that's not properly compensated for the DAW. are you sending the signal to a compressor via a bus? what daw are you using?

If you're getting lots of distortion that isn't fuck-yeah awesome sounding, increase the decay time and try backing off of all the other controls as well.

ableton live is the daw

i started all the parameters at 0 like i usually do, but no matter what i couldnt shake that tinny sound. i guess that would make sense that its a couple milliseconds delay,

so put it on the return track and only have the send at a 30-40 percent? then i guess i would have to route that return channel back to a new audio channel where i would mess with the track delay?

Macc wrote:

TeReKeTe wrote:still giving a +1 for the stillwell audio rocket; great compression plug for what it does. definitely not transparent in the slightest, but in a great way.

Macc, did UAD get the 33609 done better than the 1176? The SE version didn't blow me a way but the full-CPU one... wowza.

The full 1176 is one of the oldest UAD plugs and things have come a long long way since then. Even the 33609 is on the old side. The 1176 is alright, but still doesn’t quite have that special something (I still batter it when I have occasion to though!)

That said, I have used the real 33609 and the first time I used the UAD, it literally brought a tear to my eye. It’s without doubt (to my mind) the finest hardware compressor emulation on the market. It’s staggering. Just the make up gain stage is wonderful, the compression itself is, well, a 33609, everything about it is on the money. PDX has said about it before that the attack is often too much, it’s properly makes you blink Personally that’s exactly what I’d use it for. It’s staggering, even after three years or so it makes me excited and I’ve become a total total snob in that time.

Yes, used to... but really got my head round it now. It is easy to do it wrong, as i discovered... but it is lovely. Fastest release. Still haven't got the limiter sounding good... Fixed on my drum bus now... don't really use the 1176ln much any more, all about the VCA and the 33609 for heavy/LA2/3A for pads/bass etc... even the 88rs now and again. not tried the SSL stuff yet. Cant afford it !

The 33609 wasnt really usable with UAD1, 'one or more plugins... ' error used to drive me mad, moving tracks around, thank god for the UAD2.

doh quoted not edited

Nice.. Much appreciated brother!

Threw your site on my bookmark toolbar, will be checking it frequently....

hurlingdervish wrote:
ableton live is the daw

i started all the parameters at 0 like i usually do, but no matter what i couldnt shake that tinny sound. i guess that would make sense that its a couple milliseconds delay,

so put it on the return track and only have the send at a 30-40 percent? then i guess i would have to route that return channel back to a new audio channel where i would mess with the track delay?

it shouldn't be a problem in ableton--the routing in there is pretty rock solid.

have your drum bus output to a new track--call it SUMMED DRUMS or something like that. next do a pre-fader send, at 100 percent, from your original drum buss to a return track. put a compressor on that return, and have that channel output to the SUMMED DRUMS channel. you should be able to change the amount of parallel compression by changing the output volume of the return.

if you're getting comb filtering, then yeah-- it's a delay compensation thing, which sucks. best way around it is to use a compression plug in w/ a wet-dry control to get parallel processing.

TeReKeTe wrote:

hurlingdervish wrote:
ableton live is the daw

i started all the parameters at 0 like i usually do, but no matter what i couldnt shake that tinny sound. i guess that would make sense that its a couple milliseconds delay,

so put it on the return track and only have the send at a 30-40 percent? then i guess i would have to route that return channel back to a new audio channel where i would mess with the track delay?

it shouldn't be a problem in ableton--the routing in there is pretty rock solid.

have your drum bus output to a new track--call it SUMMED DRUMS or something like that. next do a pre-fader send, at 100 percent, from your original drum buss to a return track. put a compressor on that return, and have that channel output to the SUMMED DRUMS channel. you should be able to change the amount of parallel compression by changing the output volume of the return.

if you're getting comb filtering, then yeah-- it's a delay compensation thing, which sucks. best way around it is to use a compression plug in w/ a wet-dry control to get parallel processing.

thanks alot i'll be trying this in about 10 minutes

but the tinny sound was from a wet dry control knob so i don't know....hmm

I can never find a use of the 33609 in mixing sessions. It's so heavy handed and makes transients go crazy.

Any tips?

Future One wrote:I can never find a use of the 33609 in mixing sessions. It's so heavy handed and makes transients go crazy.

Any tips?

Spank it and love it

Macc wrote:

Future One wrote:I can never find a use of the 33609 in mixing sessions. It's so heavy handed and makes transients go crazy.

Any tips?

Spank it and love it

It really is spanky.

You demo'd the 4K Bob?

I'm quite interested to hear the Waves 1176 emulations... I hope they aren't too good. I can't afford them.

The UAD 1176LN is my go to mix compressor. Love it.

One thing about parallel compression is although your drums or whatever can sound awesome while solo'd on their own. They can often be too big sounding it the context of a mix.

Since I've come to understand that not everything needs to sound phat my mixes have become a lot better.

Nah, not demo'ed the 4k... Just not mixing at all any more and got no call for it really It's a shame... but one day I'll be back on it, not too long.

I really want them to make a proper mastering compressor, a PROPER one, but then... I have it in HW anyway so *shrug*.