Hardware compressors around £400

[Scouser]

I am considering a hardware compressor for use with vocals and acoustic guitars, looking for something simple to use which may add a little colour analog feel to my recordings.
I have heard/read good things about the Golden Age units in this price range and just wondered what suggestions you may have.

Also wondered what hardware might bring that software doesn’t deliver ?

[Drew Stephenson]

Are you thinking as something to use on the way in or something to use as a send/return? One or two channel?

Also wondered what hardware might bring that software doesn’t deliver ?

Headaches!

[Sam Spoons]

Also wondered what hardware might bring that software doesn’t deliver ?

Knobs...

[CS70]

If want to chose one, a bit depends on the genre and what you expect to achieve, and if it's only for you. A LA-3A is not a bad compromise as a do-it-all mono unit and the Golden Age one is well regarded and it's really easy to use.

Also wondered what hardware might bring that software doesn’t deliver ?

The fact that you have knobs to turn.

[CS70]

Are you thinking as something to use on the way in or something to use as a send/return? One or two channel?

Also wondered what hardware might bring that software doesn’t deliver ?

Headaches!

[Scouser]

If want to chose one, a bit depends on the genre and what you expect to achieve, and if it's only for you. A LA-3A is not a bad compromise as a do-it-all mono unit and the Golden Age one is well regarded and it's really easy to use.

Also wondered what hardware might bring that software doesn’t deliver ?

The fact that you have knobs to turn.

Okay so the genre is acoustic-based music, i.e. acoustic guitars & vocals. Looking to use it on the way in, rather than send/return. As for what I expect, compression primarily, with a little added colour/analog. Which of the golden age products do you think would suit my needs.

Also I wondered what the noise floor is like on these units, as I have minimised this recently, with my mix pre-3mI sound devices that I am using.

[The Elf]

Keep your money in your pocket, mate. There are better things you can do with it.

But if you really must... take a look at the Klark Teknik KT-76.

...and keep the change in your pocket.

[Sam Spoons]

Okay so the genre is acoustic-based music, i.e. acoustic guitars & vocals. Looking to use it on the way in, rather than send/return. As for what I expect, compression primarily, with a little added colour/analog.

It is generally not the best idea to print eq, dynamics and/or fx to the track. If you do you have to be very confident that you have the sound you want and won't want to change it when you hear it in context. This came back to bite me on the bum with the track I have on the forum album where I recorded the bass through my new Headrush Gigboard, it sounds gorgeous in isolation but good in context only on a decent full range system, if I had recorded a dry version I could have re-amped it.

[Luke W]

Also wondered what hardware might bring that software doesn’t deliver ?

Most of the time I'm more bothered by what it takes away

But that's not really helpful, and there's some good suggestions here already. I never realised quite how cheap the KT-76 is!

[Drew Stephenson]

What are you wanting to achieve with your compressor(s)?

[Scouser]

What are you wanting to achieve with your compressor(s)?

Some nice transparent compression for tracking vocals & acoustic guitars mainly.

[Drew Stephenson]

Hmmm. I would have thought that would be easier and probably better done using software once you're in the box.

[Random Guitarist]

Interesting set of responses .

Personally I do print some light hardware compression on vocals going in, using the Golden Age 3a, I like the sound and find it predictable. Not sure I'd use it on acoustic guitar though as my results when I was testing with it were less than stellar.

For me the thing it gives me over software compressors is it seems to just sound 'right' without a lot of fussing over settings. A bit like digital modelling and amps, the modeller can sound great, but the amp gets there more easily.

Or maybe it's all just confirmation bias and I'm fooling myself, only you can decide what works for you. I'd suggest digging into the available free/low cost software compressors and find a character that works for you before doing anything else,

[James Perrett]

The only time you need compression going in is when you are doing a tape based session where you need to limit the dynamic range (or you know you will have a limited number of compressors at mixdown). In that case I'd look at the FMR RNC which is very transparent and won't colour the sound too much.

Otherwise I'd echo the thoughts of the other contributors here - go for a plug-in compressor on the track.

[CS70]

What are you wanting to achieve with your compressor(s)?

Some nice transparent compression for tracking vocals & acoustic guitars mainly.

If you want transparent and you are recording digitally at 24 bit, there's no need at all... that's because If your gain range is anywhere near reasonable, you will be very far from the noise floor while simply not being able to overshot. Or vice-versa, if you are overshooting and feel you need a compressor, it means that your gain structure is wrong. A compressor set up to as transparent - slow attack, fast release, threshold set to grab only the loudest transients, will do literally nothing - it'll be like you were recording with a bit less bits but still in the sweet spot.

The only reason nowadays to use your compressor in input is to color the signal. I do it all the time with my LA 610 but just because I like what it does... and transparent, it's not.. because it's the point.

But you mentioned "analogue color"... then I'd suggest you focus on any kit with transformers inside, regardless of what it is (can certainly be a compressor, of course). That will not be transparent but give some additional character to the signal, especially not high end stuff (which tends to be expensively designed to be very linear in its behavior).

However, and apologies if I am wrong, I can't but suspect that the real answer to "what do you want to do" is "add something to my mixes that I feel it's missing".. in which case you have the right idea but the wrong solution. Outboard it ain't - unless you're prepared to go for a full good recording studio desk and multitrack in anger thru it. Everything else being equal (performance skills and recording space), you're probably better off experimenting with different microphones or look at your mixing chops.

[Random Guitarist]

The only time you need compression going in . . .

It's not just about need though is it? there's what we like, and what is convenient and easy. SOS's own review of the comp-3a said:

'"I did have the Waves and UA plug-in equivalents, so I compared it with those. I found that, using the software versions, I was able to get very close to the same settings. In terms of the gain reduction, the plug-ins were probably a tiny bit faster acting — just a hint more grabby. But I much preferred the tonal contribution of GAP’s Comp-3A. But the biggest difference was that with the software it just took me that much longer to arrive at a sound I was happy with, and that alone makes hardware like this appealing."

So long as the OP isn't blowing a big chunk of their disposable income on the hopes of a magic bullet then maybe the H/W is the right thing. But I'd still suggest trying plugins first.

[CS70]

For me the thing it gives me over software compressors is it seems to just sound 'right' without a lot of fussing over settings. A bit like digital modelling and amps, the modeller can sound great, but the amp gets there more easily.

I agree, and I think it's the knobs. It's just faster and more intuitive to rotate physical knobs while playing or the sound is decaying than reach for the mouse, locate the virtual knob and do the same. You can sweep thru sounds more quickly and find what you like faster.

[Scouser]

I have only really used software compression and do find it can take lots tweaking and when you are doing that with a mouse ! So yeh knobs seems a better quicker more intuitive option.

Also I thought that hardware compressors might bring more in terms of tonal contribution, than their software equivalents ?

I didn’t realise what James says

“The only time you need compression going in is when you are doing a tape based session where you need to limit the dynamic range “

I thought I might use it to better control dynamic performances going in ? Now I’m confused, it doesn’t take much.

[The Elf]

I thought I might use it to better control dynamic performances going in?

This is precisely not the reason to do it! Control the dynamics after recording when you have the luxury of hindsight!

[muzines]

I have only really used software compression and do find it can take lots tweaking and when you are doing that with a mouse ! So yeh knobs seems a better quicker more intuitive option.

There are may ways to control plugins that don't require a mouse.

Also I thought that hardware compressors might bring more in terms of tonal contribution, than their software equivalents ?

Not really.

I thought I might use it to better control dynamic performances going in ? Now I’m confused, it doesn’t take much.

Input stages, convertors and 24-bit recording are so good these days, you don't need to limit/compress on the way in to optimise signal levels. If it takes you a while to find a software compressor setting on your acoustic guitar that works, *take that time* and then set up a preset - now you can instantly recall your default compressor setting easily without much extra effort.

If you're looking for flavour, rather than compression, I'm not sure a £400 compressor will magically make your guitar tracks any better - and having printed it to the track, you wouldn't be able to undo it, so you'd end up spending *more* time twiddling the compressor settings as whatever settings you make will be critical and permanent in your recording.

Personally, I can think of better ways of spending £400. Maybe a controller to let you control your plugins with knobs, rather than a mouse, might let you get more mileage out of your plugins..?

[CS70]

I have only really used software compression and do find it can take lots tweaking and when you are doing that with a mouse ! So yeh knobs seems a better quicker more intuitive option.

Absolutely!

Also I thought that hardware compressors might bring more in terms of tonal contribution, than their software equivalents ?

Not particularly. I have tested my hardware MC77 and the plugin and they are very much interchangeable. Same with the the optical compressor in the LA610 and the UAD equivalent.

“The only time you need compression going in is when you are doing a tape based session where you need to limit the dynamic range “

I thought I might use it to better control dynamic performances going in ? Now I’m confused, it doesn’t take much.

It's what I was referring to above. With 24 bits (say 20-21 effective) you have a gigantic dynamic range: nobody can sing or play so loud to exceed it - the only thing you can do is to set up the initial gain level too high (but that's just a mistake).

So if you set your level at an average of -18, -20 dBFS, you can shout or drum at your heart's content and you will not ever go near 0dBFS, while the system noise floor will still be way below anything audible (the ambient noise will likely be much higher).

Tape had a lower dynamic range, so even setting up the initial gain "right", you may risk to overshoot.. hence, compression in input in the old days. Or with 16 bits digital recording, for a similar (not identical) reason.

[muzines]

(If this was another popular audio-related forum, we'd have absolutely talked you up to needing to buy a £1200+ boutique compressor by now.)

It's one of the many reasons why this place is so great. People recognise that you don't automatically solve ill-defined problems by simply buying more gear.

[CS70]

(If this was another popular audio-related forum, we'd have absolutely talked you up to needing to buy a £1200+ boutique compressor by now.)

It's one of the many reasons why this place is so great. People recognise that you don't automatically solve ill-defined problems by simply buying more gear.

Damn, don't tell me!!

I have had that 47 in my shopping cart for a week now in the hope that someone else buys it and I'm slowly convincing myself I absolutely need it to make even better records!

[muzines]

Look, if your heart is set on it, who am I to talk you out of it..?