> That Fairchild is also $30k if you can find one for sale... it's like the
> Holy Grail of analog compressors.
I love the old Joe Meek compressor. It was a brilliant idea and it
worked amazingly well. There is actually a new version of it that is
pretty close.
Within my own studio, I've got the WAVES Y56K plugin module in my
AW4416 and have the L1 multiband/multistage compressor as well as the
WAVES Renaissance Compressor. The Renaissance is a wonderful
compressor that I use most of the time. I may be a little biased as
was I more than quite familiar with the algorithms inside. :)
I'll use the Renaissance on voice, vocal and overall mix. It's good as
a gain control device.
The L1, which I've never upgraded to the L2, is comparable to the
"Finalizer" minus the destructive forces. The L2 is able to give a
LOUDER mix, but I find that, like the Finalizer, it pretty well
trashes the audio as it plays all sorts of acoustical tricks to make
the ear hear things that aren't true.
Unfortunately, everything gets whacked to the dirt by Bit Rate
Reduction. Oh, how I hate MP3.
What is funny is that for live mixing of vocal mikes, my favorite
compressor is the Behringer Multicom Pro-XL. My skin crawls with the
mere mention of the Behringer brand name, but the Multicom is great
little compressor that is ultra easy to setup for vocal mikes and acts
as a very good auto-leveler with good adaptive traits. It stinks for
instruments and is beyond horrid for program material, but for vocal
mikes, it takes seconds to configure and you have four independent
compressors per 1RU space. While there are better vocal compressors,
there are no better ones for live sound that configure as quickly as
these, nor are as forgiving.
--
Ken Norton
ken@xxxxxxxxxxx
http://www.zone-10.com
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