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inexpensive compressor

1

19robo61

Guest
Apr 28, 2012
8
1
#1
Hi, I was wondering if anyone could recommend an inexpensive, rack mount compressor that works well with bass. I've been looking at a dbx 266xl, an Alesis 3630, a Samson S-com, and a Behringer 2600. All of them have their limitations (which is to be expected with cheaper gear). I'm trying to stay in the $150 range

Any input would be appreciated. Thanks
 
#4
Not to be a basher but the 3630 is not good for anything and will only skew your perception of what compression is supposed to accomplish. If you can find a used dBX 160A you'll really hear the benefits on bass and even a 166, 266, or 1066 will do a much better job for just a little extra money.
 
#7
As with the crossover I got the XLs were replaced with XSs & a face color change I think is it.

I just picked up some DBX EQs as the Behringer & cheaper EQs got bad reviews. I'd like a compressor for the hell of it... and was looking into the Behringer 2600. Should have never sold my 166xl years back! The 2600 did get some bad reviews on noise, hum, failure but most had reported good luck.

I'm with you OP, lets see what we can find but my ideal choice would be a used DBX if they are available. They pop up fairly often
 
#8
You can find used 166A and even 166 comps (both USA-made) for $150 or below; either one is a big improvement over the cheaper XL stuff.

The b*ger is cheap but will get you by; the 3630 is not even good for propping open the door during load-in, as it's too light.
 
#13
The "266" line from dbx is just as bad as the 3630. Don't be fooled by the fact that it's a dbx, the brand is not immune to producing crap. A used 166 or 160 (with any suffix) will be a worthwhile purchase. Also, the one Behringer rackmount comp I tested was surprisingly good-sounding! The construction was cheap, but that's what you get at such a low price point. The sound quality was just as good as any mid-level dbx. I haven't tried the Samson S-Com, but the C-Com is a pretty good value. I happen to have one FS...
 
#14
Where the hell do you put a compressor in a PA chain if thats how yall are using it?

Vocals \ Kick drum, whatever into compressor THEN mixer EQ crossover amp

OR

Mixer -- EQ -- Compressor -- Crossover -- Amp ??

Thanks Bongo for the reviews!

The more I review the Behringer compressors, the more I'm finding more positive stuff than not.

Heres a good read on compressors in Live PA situations

http://recording.org/controllers-au...698-multiband-compressor-4-band-eq-final.html
 
#15
Thanks for all of the info... it's been a big help. Right now I'm trying to get a dbx 166A. I also talked to the sound guy at my church and they have four dbx 166xl's that they may be getting rid of pretty soon. Either way, all of the input from everybody saved me from dropping $150 on a piece of crap. Thanks again
 
#16
Tunaman said:
Where the hell do you put a compressor in a PA chain if thats how yall are using it?

Vocals \ Kick drum, whatever into compressor THEN mixer EQ crossover amp
Click to expand...
no!

compressors are not mic preamps. line level signals only, please.
Tunaman said:
Mixer -- EQ -- Compressor -- Crossover -- Amp ??
Click to expand...
eh, that's OK, but i don't like comping the whole mix like that. you lose fidelity unless it's a really nice compressor (sometimes even then) and when your singer yells out a note, the whole band will get quieter behind him ("pumping" and "breathing", it's called).

they're good inserted on channels, especially for vocals, but you have to watch out for vocal monitors; you never want them compressed (a recipe for feedback and blown out voices).

that means you want to insert them on a subgroup or something and send all vocals into that group, or use splitters to have two channels per singer, one compressed for mains and the other uncompressed just for monitor sends.

(they're good on vocals because you want the vocals to be clearly heard but not to blow away the rest of the band; a compressor lets you keep them just above the mix where they belong, even when the guy screams.)
 
#18
i'll admit i hate doing without them, because i really like for vocals to sound good (that's all the crowd ever seems to notice) and being able to smooth out vox goes a long way towards that.
 

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