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Discussion in 'Effects [BG]' started by Tizzy Whizzy, Jun 6, 2002.
anyone have any words on rack mounted compressors? I would be interested...
yeah... got 2 wordt for them
" KICK @$$ "
I really love my Behringer Autocom PRO1400 MDX.
It is dual-channel, and i have one in the FX loop.
the other channel is backup / used by my lead singer.
very nice compressor, and it's drop-dead cheap ( 99 )
I put my dbx 1066 (see pic) in my rack. It's cool, but my style just doesn't need compression. So now the dbx is back in my PA stack.
I picked up a cheap used Nady just to test the concept. I like what it does - I grew up in the '70s and early '80s, so compressed bass is something that sounds right to me for some things. I am happy it has a simple bypass switch, though...
I know this is probably redundant but what does a compressor do? I thought it evened out volume levels between high and low signals but now heaveyduty says it gives him a 70's / 80's type sound. Does it effect tone?
Also I was reading about the RNC 1773 or something like that as a nice 1/3 rackmount compressor.
i've used an older ashley cl50e rackmount compressor/limiter for 12 years. i'd never go without it. i've used it with an old ampeg, a gk 800rb and now with my aguilar.
I have the same unit, and am now using one channel between bass and preamp, and the other in my FX loop after the pre-amp (thanks to you, AllodoX, for this idea a few days ago). I can run this 4 ways:
clean (both channels bypassed)
pre- and post-compression
Depending on the bass I use and song played, I can quickly choose the appropriate compression with a couple if buttons, instead of fiddling with controls.
However, I found that I had to be careful about a few things:
1. Channel gain recovery can overdrive the preamp input and/or the power amp input and cause VERY ugly distortion - be CAUTIOUS with initial "Output" settings on both channels.
2. If the unit has an expander/gate section, I have found disabling this prevents sustain breakup and distortion. The interaction between the gate threshold and the compressor release accentuates this, so the gate is less useful than it would be in the case of a microphone signal.
Now that I have played with the setup for a while, I am very happy with the versatility, particularly when I blend the wet FX signal with the dry preamp signal.
Hope this is of some use.
The FMR Audio RNC ("Really Nice Compressor) is fantastic. Very transparent, great for recording. I'm thinking of buying a second one to put into a stomp box for my pedalboard.
I forgot to include this - here's a pic.
Rackmount will kill anything that comes in a stomp box. At least IME.
I agree 100%. It costs less than $200 and rivals many $2000 compressors. If you want a rack mount transparent wonderful compressor to last you a lifetime, the FMR RNC is it. Don't even think Behringer and not even the lower priced dbx or Meek.
Meek colors your sound: some love this. But it's not transparent.
One more vote for the RNC from me. I use it before the preamp and it sounds great. Easy to use too.
FWIW, one of my friends has a whole bunch of studio gear including an Avalon 737, and right under the Avalon he has two RNC's.
The best compressor under $500 I've tried (which I now use) is the Rane DC-24 dynamic controller. It isn't just a stereo compressor: in addition to compression, each channel has an expander (noise gate) and a limiter.
The feature I like best about the DC-24 is that it can be used in mono as a split-band compressor. Meaning: it has a crossover, so lows can be compressed separately from highs. This prevents peaks in a certain frequency range from squashing the entire signal. For example, if I pop the G string, then highs are compressed but the lows still come through. If I dig in when fingerfunkin' down low, the lows are compressed but highs aren't squashed out. I set the crossover between 200 and 300Hz.
Note that I have yet to try the FMR RNC, but I'm very tempted, as I have heard nothing but rave reviews (tho' I do wish it had XLR ins/outs.....)