ADR Gemini Easy Rider or 1178

[mikoo69]

Any opinions on this comp? I have one I can get for a good price.

Looking for something to compress drum overheads or room mics. How does it compare to an 1178?

I am doing 8 track tape recordings. drums will be 4 tracks (kick, snare and Drum Image L and R). Probably won't be close miking toms. Probably Glyn Johns with a pair of Coles 4038 or Beyer M160 depending on the room. Possibly adding room mics.

Considering both this and an 1178, or just one or the other. Thoughts?

[Marc Alan Goodman]

Well, they're pretty different beasts, even if they are both FET compressors. I'd be hard pressed to say which one you'd like more without trying them yourself. The 1178 is more of a classic, but those Gemini's are pretty damn awesome sleepers and it's probably a pretty chunk cheaper than the Urei.

Can you work it out so you can try them in your space?

[cgarges]

I would think it'd be easy to get the option of a subtler sound with the 1178 than with the Easy Rider, but they are both cool.

Chris Garges
Charlotte, NC

[mikoo69]

or i could get an API 2500 for an extra $300 more than the 1178...hmmm

[drumsound]

or i could get an API 2500 for an extra $300 more than the 1178...hmmm

the 2500 is a pretty special box.

[cgarges]

Yeah, probably more versatile in terms of compressor action than either of the others mentioned.

Chris Garges
Charlotte, NC

[Nick Sevilla]

or i could get an API 2500 for an extra $300 more than the 1178...hmmm

Or, you could keep looking for yet another compressor.

I might suggest two LA2As wired in Stereo (yes it is possible).

[mikoo69]

Trying to get about 4 compressors for a project studio i am starting. My budget is about $4-5K for compressors. The studio is all analog, to 8 track 1/2" tape (Otari MX5050).

Right now I have an RNC, and that's it.

I can get the Easy Rider for $400 that may be a good solution for drum OHs/room mics, rather than shelling out the money on an 1178 or API 2500. I will most likely be using Glyn Johns for the stereo drum image, and then one track for kick, one for snare. If I mic toms or use room mics, they will be combined with the OHs straight to 2-tracks.

Interested in the Purple Audio MC77 for vocals.

Also need something for Bass and Kick drum. Was looking at a Urei LA-22 that's reasonably priced for Bass.

...but any suggestions on how to best spend 4-5K for these purposes would be appreciated!

[mikoo69]

got the 1178 at a good price.

now i need a dedicated comp for bass and for kick drum. bass i will be mostly using an RE-20 and an AT Pro37 on the cabinet (At for high end detial, RE-20 main sound). Something to compress the RE-20 only.

Kick will most likely use an inside and outside mic, 421 or D12 inside, Beyer m160 or Coles 4038 outside. Suggestions for a kick comp?

Will obviously use only when needed, but I want the option. Thinking of saving a bit more and getting 2 distressors for this application, as they intrigue me and seem versatile. Thoughts or other suggestions?

[fuzz]

now i need a dedicated comp for bass and for kick drum

DBX 160X,XT, or A. These are also great on VOX in "over easy." You should be able to pick up a pair for 300-400.

bass i will be mostly using an RE-20 and an AT Pro37 on the cabinet (At for high end detial, RE-20 main sound). Something to compress the RE-20 only.

Kick will most likely use an inside and outside mic, 421 or D12 inside, Beyer m160 or Coles 4038 outside.

I will most likely be using Glyn Johns for the stereo drum image, and then one track for kick, one for snare. If I mic toms or use room mics, they will be combined with the OHs straight to 2-tracks.

I think you may be assuming too much. 1176 can be great on VOX and it can suck, Glyn Johns is fine, but what if its a jazz group and the cymbals need to be super in phase? Alot of bass ends up just the DI. Everything is situational and I wouldn't necessarily be looking for gear choices for as specific of task as you're putting forth.

Example: After a chat with a fellow engineer, he liked the LA-2A sometimes on kick. Tried our sta-level the next day on a kick and it worked great, but it's not the first thing I' try usually. Also some things are a one trick pony, but the distressors are mad versatile. You may want to hold off on some purchases until you find what you're wanting to reach for in the heat of battle.

[mikoo69]

i totally understand.

the nature of the project is that we are recording a lot of bands in a short period of time, all live to 8 track. will be combined with video. one day of production time. the most we'll do is some vocal overdubs, but for the most part its a band in a room, to 8 tracks of tape, one take.

we want to streamline the process as much as possible and also have a couple of gear options, which is why i want some versatile compressors. eventually, we plan on running a full-time studio, where we can experiment more and have various options, but for the sake of this project, we just want something that will sound really good and give us what we need to record 3-5 piece loud, electric-guitar based rock bands.

[nick_a]

first thought that comes to mind, to me, is: get a distressor.

[mikoo69]

i'll be getting a distressor and a Tube Tech CL-1B. Figure i'll use the MC77 and CL-1B for vocals/bass as a dedicated comp while tracking, the distressor on kick and the 1178 on drum overheads. then during the mix i will experiment mixing and matching for anything that still benefits from compression.

going to try to get everything sounding as good as possible while tracking. sticking to 8 tracks, i think these 4 comps will do the job. i will mostly be working with guitar based electric rock bands...2-4 tracks for drums (kick, snare, L and R image), 1 track for bass, 2 for guitars/keys/instruments and 1-2 for vocals. any other suggestions/recommendations would be cool. looking forward to experimenting with these 4 comps.