Hardware Distressor/Limiter/Compressor

[Becharax]

Hello,

I am using Pro Tools 12 to mix in the box ... and I have an Apogee Symphony 2x6 as my main interface (the symphony is connected to a thunderbolt thunderbridge box by apogee).

I have the eleven rack hooked digitally through spdif and a focusrite ISA two connected to the inputs of my symphony ...

If I want to use an external hardware processor (a hardware compressor) whats the best way to use it in the chain i am using so I can use it on the final master fader or output ??

where should I plug it ?

[waltz mastering]

Originally Posted by DJ Bechara

Hello,

I am using Pro Tools 12 to mix in the box ... and I have an Apogee Symphony 2x6 as my main interface (the symphony is connected to a thunderbolt thunderbridge box by apogee).

I have the eleven rack hooked digitally through spdif and a focusrite ISA two connected to the inputs of my symphony ...

If I want to use an external hardware processor (a hardware compressor) whats the best way to use it in the chain i am using so I can use it on the final master fader or output ??

where should I plug it ?

You'll need an DA/AD loop available on your converters, and wire the Distressor through that and then assign the hardware I/O insert from that loop to the track/bus.

The Distressor is a mono unit, so you'd need 2 for the Master unless you'd want to use it on the Sum/Mono in M/S, ...but in my experience they don't sound great with a mix running through them. .. slightly grainy.. didn't care for the fatso either but they are nice in individual tracks or maybe you can utilize it on a vocal, bass kick/snare bus. gl

[albee1952]

Given that its a mono unit, and you have limited IO, honestly I would just use plugins. If you had a stereo compressor, you would send signal out a pair of outputs(NOT the pair that feeds your monitors) and return thru your 2 inputs, and record that stereo signal to a new stereo audio track. If you are looking to "warm up" the sound with analog, you can get very close with a few plugins(most of which can be demo'd for free). Some that are worth a look(and a demo):
Slate VTM
Nomad Magnetic
Softube CL1-B(Final Mix Warmer preset)
Finally, are you trying to mix AND master? If so, there are too many options to list, but here is a simple chain that can get you close:
Hi-pass(I use Waves RennEQ set to 33Hz, but most any EQ will work)
Slate VTM(demo)
Waves L2(or any "brickwall" limiter) set to do gentle(2db) GR
If that's not loud enough, add another limiter(set output ceiling to -.02 on both).

[mesaone]

If you had a stereo compressor with AES3 I/O, then this would be a snap. Likewise for a stereo compressor that can use SPDIF or ADAT ch 1-2.

I agree with Dave, plug-ins sound so good these days and your I/O doesn't offer much flexibility in terms of outboard processing.

[Becharax]

Now that's really helpful !! like very helpful guys Thanks !!!

Why do everyone still buy Gear when plugins are THAT good nowadays ?? an AES or ADAT stereo compressor will definitely make my day ... do you know anyone like that ?? (I still have a pair of outputs free but my inputs are taken so ...)

[mesaone]

Because a hardware compressor never crashes, it's always compatible with any DAW and OS, it takes up zero CPU power, you don't need a control surface, and it retains much more of its resale value. There are still many units that have that "magic" that software can only get you 95% of... But you pay for the privilege.

[waltz mastering]

Originally Posted by DJ Bechara

Why do everyone still buy Gear when plugins are THAT good nowadays ??

Don't drink that Kool-Aid.

Not sure why it was even brought up... but

There's hardware that software can't touch
..and software that hardware can't touch..

It's all about context.. gl

[Becharax]

Originally Posted by waltz mastering

Don't drink that Kool-Aid.

Not sure why it was even brought up... but

There's hardware that software can't touch
..and software that hardware can't touch..

It's all about context.. gl

Can you give me an example ?

[Darryl Ramm]

http://www.theatlantic.com/national/...-jones/248723/

[waltz mastering]

Originally Posted by DJ Bechara

Can you give me an example ?

Sure. although I'd rather not get pulled into these kind of arguments/justifications, but
You won't find a linear phase eq in the analog domain. It's impossible

There's no analog brick wall limiter that comes close to the usefulness of a software version when it comes to getting gobs of clean gain.

On the analog side, I think it's easier for the uninitiated to hear the difference between an amp sim of a Marshall amp and the real thing pushing air.

Is the software version/sim passible and usable in a recording? yes.
Does it sound the same as a 1/2 stack miced up?,.. nope
Can the differences be detected by an untrained ear? maybe.
To a trained ear? yes

Likewise, there's no plug that reproduces the non linearities of the euphonic sound that emanates from the likes of a Manley Vari_Mu, LA3A, or UA 176 etc..

You can get sold on the idea that these emulation plugs are identical by marketing, but it's like near beer and much easier to realize the differences when you using them everyday in a detailed monitoring environment.

It's sort of like being able to tell the difference between a fine wine and a not so great one? They both will get you tipsy, but...

For me the take home is use what ever floats your boat and puts money on the table.
Use whatever serves the purpose and serves the song..
..but making a blanket statement and trying to justify that everything analog can be just as good as it's digital emulation and visa versa is simply false marketing that's easy to get bought up by the ppl who have not really had the opportunity to sit down and put them both fully through their paces under real world circumstances.

Again,.. not sure why this type of discussion was even introduced into a thread simply asking how to wire a Distressor in... but..