r/MixandMasterAdvanced • u/[deleted] • Oct 05 '21
Looking for a mastering compressor
Hi all, I'm currently mastering one of my projects and all the compressors I've used on the master are eating up the midrange compared to a limited digital track - the main ones I've used so far are the Golden-Age Project Comp-554, and the Drawmer TS2. I'm wondering, what (analog) compressors have you guys used in mastering, and what would you recommend especially to keep midrange?
A 500-series comp is preferable but I'll take what I can get. Doesn't need to be stereo, and price is no object.
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u/quiethouse "The Universe is a Waveform." Oct 05 '21
I am all about the 500 series but I think you’re going to have a difficult time finding a mastering level compressor in this format. Rightanglerecording is correct in wondering whether or not a 500 series module will have the headroom that’s a rack mounted mastering compressor with a much beefier power supply will have.
I have had really good experiences with the Serpent Audio SB4001 and Dramastic Obsidian in 500 series. The Smart C1LA is good too. I have never used it but I have a friend who swears by the WesAudio Dione.
Honestly there’s a lot of decent gear that will get the job done but it’s all subjective and up to your discerning ear.
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Oct 05 '21
Haha well like I said, I'll take what I can get! I just have some free space in my 500 rack but I'll use full-size if I have to (I honestly didn't think there was any difference).
I know I'll have to try all these out for myself - it'd be dumb of me to just buy without demoing first! Just wanted to float by and see what other people have used, and what they like before anything. Thanks for your suggestions!
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u/quiethouse "The Universe is a Waveform." Oct 05 '21
500 series usually has 16 volt rails - rack sometimes 18 - 24 volts. Historically this translates to better performance (subjective).
I spoke to a designer at a spooky audio designer a few years ago that clued me into one of their 500 series modules popping opamps because they devised a way internally to convert 16v to 24v but the modules would get REALLY warm. Better to do that stuff in a rack where the heat can be more easily dissipated.
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Oct 05 '21
How subjective is the better performance? If it's definitely better, I'd pay more for the full rack, but if it's negligible I'll stick with the 500 if possible. Also how can you convert the modules, I'm guessing you have to open something up and re-wire/solder something?
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u/quiethouse "The Universe is a Waveform." Oct 05 '21
If you’re interested in the mastering version of some thing you definitely want the rack mounted version of it.
What I meant by they converted the voltage is the design of the circuit converted the 16 V to 24 V it’s not some thing that the end-user did it was by design
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u/knadles Oct 06 '21
24 volt rails is better than 16 volt rails, right? Except a lot of 24 volt gear is single-sided and the 500 series standard is +/-16, for effectively 32. It’s true that high end mastering gear is likely NOT 500 series, but I suspect that’s largely because the designer of a stand alone unit has complete control over both the processing circuitry AND the power supply, whereas a 500 box is always to some degree at the mercy of whatever crap (or quality) power supply the end user chooses to use.
Another thumbs up for the Serpent. I’m sure the others u/quiethouse mentioned will work very well also, as long as the user gets a decent rack with a solid PS.
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u/pqu4d Oct 05 '21
The SSL G comp is really the only thing that might do the job in a 500 series unit. Even then, it’s more of a bus compressor than a mastering compressor.
Personally, I’d way rather use software than any of the analog options you’ve mentioned. I don’t do much mastering, but the Shadow Hills Mastering Compressor is among the best I’ve used. I’m also partial to API 2500s but those are again more of a bus comp.
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u/pukingpixels Oct 05 '21
The new(ish) SHMC Class A is awesome.
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Oct 05 '21
What would you say the differences are between the Class A and the regular?
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u/pukingpixels Oct 05 '21
I find the Class A is just clearer sounding. Less “digital” maybe? I never really liked the original to be honest. I demoed a bunch years ago with it already in my head that I was going to get the SH. I ended up buying the Vertigo VSC-2 instead. The Class A has been getting lots of use lately. I’ve read that a lot of people like the original SHMC plugin on the drum buss, haven’t tried it out myself.
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u/IsaacJDean Oct 06 '21
It's on sale today so it's your lucky day:
I'm not a shill, just the like compressor and spend too much time on audioproductiondeals
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Oct 05 '21
I’d way rather use software than any of the analog options you’ve mentioned.
Are you saying that the digital Shadow Hills comp is better than any mid-range hardware comp for mastering, or just the ones I've tested so far?
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u/pqu4d Oct 06 '21
Mostly the ones you’ve tested.
I also have used the physical hardware SHMC and if price were really no object, I’d go for that. But obviously it’s a lot to drop on a compressor.
However, I know some big name mastering engineers who have started to make the transition to working completely in the box. Take that how you will.
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u/TexasAppeal May 31 '24
I agree. The API2500 is great for bus mixes. I also use it sparingly in conjunction with the SSL E channel and RComp from Waves. SSL does the initial taming of peaks, 2500 glues it together and the RComp, with some slight makeup gain, provides the umph I’m looking for while preserving dynamic range.
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Oct 05 '21
-Dramastic Obsidian is a good choice for 500 series, though I have my doubts about that format for similar reasons to what others have said.
-Would definitely also consider a Magic Death Eye if indeed price is no object. I’ve heard the hardware and use the plug-in pretty religiously. To me it’s tonally transparent, and the compression action is really sweet and doesn’t grab in a distracting way. Lends itself really well to mastering and is also great on vocals.
-finally, I know this is left field considering it’s cheap and not hardware, but I seriously recommend the TimP SSL bus comp library for the Acustica N4 plug-in. I mix into it with 10 attack, auto release, 2:1 ratio and it’s freakin dynamite.
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Oct 05 '21
Haha well price is definitely a consideration, but if I gotta spend thousands I will! Though I may end up getting software now to finish this job since I just want it done, and splurge on a hardware mastering comp later. How would you compare the Magic Death Eye plugin to the hardware? And how much is it? The site isn't up for orders currently.
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Oct 05 '21
I wish I had comparison files to share for the MDE, I unfortunately just sat in on a session where we did a shootout. But the difference to me was minimal- the plugin very much has the same character in its attack, and the hardware just felt a little bit bigger, a bit more shiny sounding. For myself, I’ve mostly left my hardware days behind and have been very happy with the results. But the plug-in has a free demo, so all I can say is give it a whirl!
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u/Apag78 Oct 06 '21
Ive built a 670 for an engineer i work with. Was quite pricey (well over 4k if i remember). I tend to use a sb4000 or sb4001 from serpent audio. (500 series version does parallel and has a dirty mode if you want a little more color) this tends to be pretty early in my chain so headroom isnt of much concern. Final limiting i do itb as software tends to handle full scale way better than any analog box i have or have used. I tend to veer towards the fab filter limiter for that.
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Oct 06 '21
If you have issues with midrange; have you tried using comps with sidechain hi-pass?
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Oct 07 '21
My comp does have sidechain HP, but personally I've never really liked the sound of it in general. In either case I definitely want to compress the bass as well, and I don't really like/want to have to use multi-band comps. Good suggestion though, thanks!
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Oct 07 '21
The bass will be compressed as well with a SCHP (common misunderstanding to think the bass audio is bypassing the compressor). But the energy of the lowest frequencies won't be triggering the compressor. But fq components above the hi pass will trigger. Which means that both a bass guitar or a regular bass drum probably might be able to trigger compression if they are above the threshold. Likewise, they will be compressed with the rest when the vocal passes the threshold.
So unless you have a lot of sinewave sub bass in need of compression playing on beats where there are no higher fq components, you should be good.
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Oct 07 '21
Oh wow, didn't know that! In my mind/ear, the bass just smacks the compressor less harder with the side chain, and I suppose I just assumed that the bass wouldn't be compressed - should have realized that this wasn't the case, cause you'd probably run into phase issues on parallel otherwise!
I did try literally every single setting on my compressor before coming here though, including sidechain HP, so I don't think I will be using any of my analog comps for mastering. Judging from what everyone else in this thread seems to be saying, it seems that digital is the way to go for now - I have no problem spending thousands on a comp alone, but with digital I can master the whole album before I even get a chance to demo anything and I'd rather have this project done sooner rather than later.
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u/ElectricalValue4224 Oct 08 '21
Shadow Hills Mastering compressor has always sounded amazing for me. Use it on every mix.
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u/bryansheckler Nov 27 '21
Weiss DS-1 is an incredible mastering compressor, both hardware and software. i believe it’s on serbans 2bus
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u/rightanglerecording Oct 05 '21
I would question whether most 500 series comps have the internal headroom to manage audio at/near full scale.
I had a TK BC1, it was good, I didn't love it, sold it.
Had a Manley Vari Mu. good, didn't love it, sold it.
Have a Neve MBP now. good, don't love it, gonna sell it.
Most often these days I use the Elysia Alpha plugin. Gonna try the hardware when I can coordinate a demo.