An affordable Distressor or 1176 type compression?

[JoshRose]

Greetings. I was recently introduced to tape op magazine by my local audio repairman. Great magazine.

Anyhow, I am trying to get a bigger beefier drum sound for a FOH job I have. Unfortunately, I don't have $2,000 to spend on compressors at the moment. Essentially I am just looking for something more affordable that yields that big, fat, warm "British Mode" type of compression that I can fatten up some drums with. For budget gear, I tend to get decent results with the DBX 166 unit. It gets pretty colored when you crank the ratio. But I need a few more units and thought I would get some opinions on other reasonably price compressors that will do the job. The compressor is likely to be used in parallel with a clean signal, or perhaps on just overheads... I'm not really sure until I hear it. Also, I need stereo.

Thanks for any advice.

EDIT: Also, since this is a recording board, if anyone is familiar with the sound of the waves C1 Comp, it is along the lines of the sound I would like to accomplish too. It has a great warm coloration to it that I wish I could find in a rack unit for live sound.

[joel hamilton]

But I need a few more units and thought I would get some opinions on other reasonably price compressors that will do the job. The compressor is likely to be used in parallel with a clean signal, or perhaps on just overheads... I'm not really sure until I hear it. Also, I need stereo.

Thanks for any advice.

EDIT: Also, since this is a recording board, if anyone is familiar with the sound of the waves C1 Comp, it is along the lines of the sound I would like to accomplish too. It has a great warm coloration to it that I wish I could find in a rack unit for live sound.

http://www.waves.com/content.aspx?id=172

All the guys I know doing sound, for all kinds of people, seem to be loving the waves MaxxBCL thingy. For sure I would want one if I was still touring. It just seems to do the job quite well, night after night.
As far as stereo units go besides that one...it is tough when people say " I want a brand new 2008 ferrari, but I want to spend used 1996 honda accord prices." There is a reason that the distresor, or the neve 33609, or the drawmer 1960 cost what they cost.
That being said, there are some really cool pieces of gear that are less expensive, but do they "replace" or "emulate" the more expensive stuff? No. They do something deifferent, and subjectively just as good, but different for sure.

The symetrix 501, or 150 would be a great choice for someone that wants some linkable smashing that imparts some color. run them really hot. Run the output really hot and get some clipping going and blend that in as a parallel drum thing. You will have some compression, and some distortion, which is why you wanted a distressor right?

Check out the ashly compressors, and the older symetrix compressors. they are fun. If all else fails, just get an effectron Jr and half push the buttons so NO delay is selected, but with the mix at 100% wet, and crank up the input until the clip light starts glowing. one of the most kick ass diode/brickwall clippers built right in. oh, it will work as a delay also , in a pinch...

[fossiltooth]

Regardless of your budget, if you're not getting the "Big, fat" drum sound you say you want in a live setting, I don't think getting an 1176 or a distressor for parallel drum compression is the best place to start anyway! The FOH guys for most national touring acts don't invest a ton of money in portable rack gear for drums. It's very rare that the average professional mobile FOH rig has multiple single-channel units with a price tag over $1k. Unless you're doing FOH at madison square garden or have a ton of disposable income, don't worry about it!

Most respectable acts and mid-sized venues rely on the same equipment you're probably already familiar with. They might have a one or two high dollar items, if that. If they do, they will usually be tailored for vocals or the stereo bus. Otherwise, mid-sized venues are overflowing with the mid-priced standards we all know and (kinda) love.

-Most important is the acoustic kit sound and balance.
-Instruments and their treatments are crucial.
-Performance is key.
-Mic choice and placement matters.
-Mix relationships and stage balances make a huge difference.

-What compressor you use on a parallel drum bus in a live setting, on the off chance that an extra bus will be available on that particular board at that particular venue?

...Sh*t man! I have much more important things to worry about!

I just don't think an 1176 or 1176-a-like for live, parallel drum compression is the best place to start spending money if you're on a tight budget.

IMHO, unless you have a wad burning in your pocket and want to try out some new toys, I think you should take a serious look at everything other than a stereo comp for drums first. Are you in love with your drum mics? Are you crazy about the acoustic sound of the kit?

[cgarges]

If all else fails, just get an effectron Jr and half push the buttons so NO delay is selected, but with the mix at 100% wet, and crank up the input until the clip light starts glowing. one of the most kick ass diode/brickwall clippers built right in.

Shhhhh!!!!!!


CG

[Slider]

Look at the Focusrite Compounder.
1. Super cheap used
2. will make drums sound really good.
3. Great gates as well
4. Bass expander knob is actually very useful.
5. Versatile. It will work on almost anything.

[JoshRose]

-Most important is the acoustic kit sound and balance.
-Instruments and their treatments are crucial.
-Performance is key.
-Mic choice and placement matters.
-Mix relationships and stage balances make a huge difference.

-What compressor you use on a parallel drum bus in a live setting, on the off chance that an extra bus will be available on that particular board at that particular venue?

...Sh*t man! I have much more important things to worry about!

I just don't think an 1176 or 1176-a-like for live, parallel drum compression is a good place to start spending money if you're on a tight budget.

IMHO, unless you have a wad burning in your pocket and want to try out some new toys, I think you should take a serious look at everything other than a stereo comp for drums first. Are you in love with your drum mics? Are you crazy about the acoustic sound of the kit?

Most of the time, helping the band understand what they can do differently from a performance/stage balance point of view will, and understanding getting a good slice of time for soundcheck will do more than any particular piece of gear.

I do appreciate the input, but the truth is, all the rest is sorted out already. It's for a local church that has an audio budget. I know the musicians, the console, and the situation. I already have a good line of communication with the band and a solid rehearsal time. And the gear is really solid. A great stereo compressor for drums is the best purchase for the setup right now. It's not a lackluster setup where a good $200-$300 could be better spent elsewhere.

Thanks to everyone for the unit suggestions. I will begin researching those I am unfamiliar with.

[Max]

Have you considered FMR Audio's RNLA? I have two and took them with me to a couple of FOH gigs and they worked pretty well on snare and the drum bus.
They are in you're price range.

[mjau]

If all else fails, just get an effectron Jr and half push the buttons so NO delay is selected, but with the mix at 100% wet, and crank up the input until the clip light starts glowing. one of the most kick ass diode/brickwall clippers built right in.

Shhhhh!!!!!!


CG

Damn, and I thought I was all groundbreaking for figuring that one out.

[inverseroom]

+1 on the Symetrix 501

[kayagum]

Most church gigs would not benefit from "bigger, beefier" drums. You'll just create more of a low frequency mess than you already probably have.

If you have a good rapport with the band (and you said you did), sit down with the drummer, and check the tuning of the kit. If the tone is flabby, start there. That will probably be more beneficial than trying to artificially create a sound through the board.

[joel hamilton]

If all else fails, just get an effectron Jr and half push the buttons so NO delay is selected, but with the mix at 100% wet, and crank up the input until the clip light starts glowing. one of the most kick ass diode/brickwall clippers built right in.

Shhhhh!!!!!!


CG

Damn, and I thought I was all groundbreaking for figuring that one out.

That was one of my first "limiter" tricks I ever figured out. I hadnt realized that I had half pushed one of the buttons and it didnt engage, so when i was just cranking the aux more and more wondering why i couldnt hear a delay, but the sound at the return was awesome mixed in with the original elements.. this was around, um, '95? '96?

Talent, in my case, is just intelligent application of incompetence.

[calaverasgrandes]

Its been overshadowed by the RNLA but I like the Blue Max by Presonus for an affordable stereo buss compressor. Its not anything near 1176 land, but it has some good sounds in it. I like the preset function. I just wish I could put my own presets in it! It also has a manual mode. My current fave guitar sound is this along with a summit mic pre. Makes it more bigger.
another plus one on those ashly comps. CL50 and CL100 I believe? I used to know an ashly rep that would drop off loaners to try and get me to buy them. He never understood that the club I was working at had zero budget that wasnt already assigned to the inside of the managers nose

[mjau]

[quote="joel hamiltonTalent, in my case, is just intelligent application of incompetence. [/quote]
Perfectly put - describes my experience with the effectron (and virtually everything else) to a T.

[trodden]

Talent, in my case, is just intelligent application of incompetence.

that needs to be put on a t-shirt.. or a coffee mug.. or a pint glass...

[JoshRose]

Most church gigs would not benefit from "bigger, beefier" drums. You'll just create more of a low frequency mess than you already probably have.

This is most certainly a hasty generalization. All churches are different. Everything varies from worship style, room design, system components, etc. In this case, the church would benefit from something beefier. It's not really a matter of a poorly tuned kit or anything. In this particular case, the drums sound fine, but a bigger drum sound would compliment the worship team and their style.

It's also not a case of the drums being too small at the moment, but a tiny bit of overdrive to some of the skins would make them sound just a bit better. After being at a certain venue for an extended period of time it's easy to just accept you current sound as "good enough." I'm not into the good enough philosophy. My goal is to constantly improve the worship experience at this church, and I think a bit of colored compression for drums is going to be a nice subtle improvement in the drum sound.