Low End Stereo Compressor/Expander

[mcp6453[_2_]]

I have a project for which I am considering building a stereo version of a
Dorrough DAP310 Discriminate Audio Processor. The DAP has three channels of
compression and expansion with a three-way crossover ahead of them. I have no
interest in building the compressor/expander, so I'm thinking about getting
three low end compressors. The best bang for the bug seems to be the dbx266xl at
$150 each. Is there another unit I should consider? The project doesn't have a
budget, so cheap is the word.

[mcp6453[_2_]]

On 8/18/2010 7:19 PM, Scott Dorsey wrote:
> mcp6453 > wrote:
>> I have a project for which I am considering building a stereo version of a
>> Dorrough DAP310 Discriminate Audio Processor. The DAP has three channels of
>> compression and expansion with a three-way crossover ahead of them. I have no
>> interest in building the compressor/expander, so I'm thinking about getting
>> three low end compressors. The best bang for the bug seems to be the dbx266xl at
>> $150 each. Is there another unit I should consider? The project doesn't have a
>> budget, so cheap is the word.
>
> RNC.
> Two coupled channels for $199.
>
> And the damn thing actually sounds pretty good. I have used it for a
> 2-band compressor, combined with a Rane AC-22 crossover. The results
> wound up on a major label jazz album.
> --scott
>

I have to have three of them (I already have one). Did you use them in Super
Nice mode? I was thinking they would not be optimum since they don't have expanders.

Where did you set the crossover points on the Rane? The DAPs were at 120 Hz and
6.5 kHz, single pole. I actually have two of them, but the expander cards are
missing in one, and one of them may have been modified. It would be a bear to
get them to track each other in stereo. They were independently used in AM stations.

Not only do I love the RNC, but I think Mark and Beth McQuilken are two of the
classiest people in the audio business. Of course I have to put Mike and Kay
Dorrough in that category, as well.

[Scott Dorsey]

mcp6453 > wrote:
>
>I have to have three of them (I already have one). Did you use them in Super
>Nice mode? I was thinking they would not be optimum since they don't have expanders.

I used them in regular mode, not super nice. And they don't have expanders,
if that's an issue.

>Where did you set the crossover points on the Rane? The DAPs were at 120 Hz and
>6.5 kHz, single pole. I actually have two of them, but the expander cards are
>missing in one, and one of them may have been modified. It would be a bear to
>get them to track each other in stereo. They were independently used in AM stations.

I set the crossover point based on where the kick drum was... I just listened
to it and cranked the crossover point down until the midrange started pumping,
then I raised it up again until it stopped. I don't recall where it wound up
but it was probably in the 200 Hz range.

>Not only do I love the RNC, but I think Mark and Beth McQuilken are two of the
>classiest people in the audio business. Of course I have to put Mike and Kay
>Dorrough in that category, as well.

I agree thoroughly. Also, you know, you don't need all three bands to be
done with the same compressor... you could mix two dbxes and one RNC.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[gtbuba]

On Aug 18, 10:16*pm, (Scott Dorsey) wrote:
> mcp6453 > wrote:
>
> >I have to have three of them (I already have one). Did you use them in Super
> >Nice mode? I was thinking they would not be optimum since they don't have expanders.
>
> I used them in regular mode, not super nice. *And they don't have expanders,
> if that's an issue.
>
> >Where did you set the crossover points on the Rane? The DAPs were at 120 Hz and
> >6.5 kHz, single pole. I actually have two of them, but the expander cards are
> >missing in one, and one of them may have been modified. It would be a bear to
> >get them to track each other in stereo. They were independently used in AM stations.
>
> I set the crossover point based on where the kick drum was... I just listened
> to it and cranked the crossover point down until the midrange started pumping,
> then I raised it up again until it stopped. *I don't recall where it wound up
> but it was probably in the 200 Hz range.
>
> >Not only do I love the RNC, but I think Mark and Beth McQuilken are two of the
> >classiest people in the audio business. Of course I have to put Mike and Kay
> >Dorrough in that category, as well.
>
> I agree thoroughly. *Also, you know, you don't need all three bands to be
> done with the same compressor... you could mix two dbxes and one RNC.
> --scott
>
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."

I have gone on many lost compressor binges. have used a TC Finalizer
for many cd mixes. Never set comps to a anything fancy. Just 2-4 dbs
on the whole mix. I must buy a RNC. Never have owned. Mixed 1 song
with two linked 651 aphex expressors. They are nice. 1 album mixed
thru a DBx 166. Sold 10 thousand copies,but I wished I had used a
little less of the dbx 166. Too compressed sounding. If you are ever
interested Here are ones I have bought and used.
Manley vari mu, Alesis 3360, cad compressor, fatman,focusrite green
series,dbx 161,Urei la3, Yamaha gc???, focusrite compounder,GSL,
Distressor (favorite), Behringer 1953, dbx 160, symetrics 525, Orban
424,Tapco squeeze,
At any rate I never think using a 3 band comp on a mix is that smart.
Why. Well with recall automation in most all of todays sytems I would
rather go back to the multi track and compress, EQ ,lower or raise
individual items to make my mixes do what I want. Why goof with the 2
track and change everything.
GT

[Scott Dorsey]

gtbuba > wrote:
> At any rate I never think using a 3 band comp on a mix is that smart.
>Why. Well with recall automation in most all of todays sytems I would
>rather go back to the multi track and compress, EQ ,lower or raise
>individual items to make my mixes do what I want. Why goof with the 2
>track and change everything.

The main reason why multiband compression exists is to deal with instances
where you can't go back to the 2-track.

Broadcast work is the best possible example.... you get the records from the
record company, you put them all on air, you want the levels and general
balances to be similar but you can't call the record company and ask for a
remix. Even though much of the time that would help...
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."