Deciding on my First Bus Compressor

[Lee]

I have been creating a list of equipment for my new mixing room and my purchasing decision is based on quality over quantity. I need every piece of equipment on the list to be versatile. I aim to mix mainly rock music and don't necessarily need it to be transparent. I have so-far narrowed it down to the API 2500. Would this be a wise choice? If you could only afford to have one bus compressor what would it be and why?

[Chinagraf]

That is a good choice. It's a bit more versatile with the tone settings like the type and thrust. It has a sound though. Do you have a chance to try it first, as it will be your only comp?

[The Tasmanian]

API 2500 is a really great box - so much more you can do with it compared to a one trick pony like any (boring) SSL/Smart comp.
If you are going to get a mix bus comp then you may as well have a stereo comp that you can use for great tracking purposes.

[chribble]

Hey Whilst ive not used the API maybe i'd go for something with a wet/dry knob.
I find it really useful on my bc1 for squeezing

[mylesgm]

There are quite a lot of 'SSL' style comps, some really good ones others not so good. I like the SSL style for many things and use it alot as a transparent smoother but it is certainly not an allrounder nor can it really work as a mono tracking comp even if you only use one side (its always stereo linked).

The main thing to remember though in selecting a buss comp (or anything for that matter) for me is not necessarily flexibility (though that is important) it is tone that is important. These days people seem eager to get as many different flavours as possible. I can see the point and I do that a bit too but I think this has wandered from the focus of earlier directions. Originally there would have been a console with a particular tone that coloured the recording of each particular studio and then they would have had a selection of outboard mostly for effects with a few comp/eq pieces that pretty much always got used on the same things. This lead to each studio having a certain sound and the way each engineer worked within that sound was his fingerprint on that sound. I think that there is so much to learn with this approach rather than the I've got a massive box of crayons of so many different colours I'm actually at a loss to pick one so I'll just randomly pick that one because I've heard that somebody else did. This usually ends up like the kiddy drawing of mud. No light and dark and no delicate shading of colour or texture. Sound sonically familiar?

Ramble aside I would pick a high quality comp that does what it does very well (there are quite a few but the api does indeed do that) and then use it all of the time till you get to know it really well and it will become part of your sonic signature. Heaps better approach than trying to get a number of buss comps or trying to find one based on other peoples opinion.

M

[Mark Bassett]

A vote here for the 'boring' SSL G Series Comp or Al Smart. (heard on countless hits for the last 3 decades)
or
Money no object - Fairchild clone.

Money no object, Fairchild.

[Lee]

First off, thanks everyone for your replies, it all adds to the decision process in some way. Thanks Myles for your "ramble". I appreciate that you took the time to reply with that much detail. I have decided I want something with "a sound" as opposed to the "boring" SSL (less colourful) sound, but I need to decide on which sound is best for me. I used an Al Smart on the last mix I did, which didn't sound bad but it didn't make me say wow. From my research it seems that the API 2500 is more versatile than the SSL, which is appealing to me as the one I choose will be it for a while. I agree Myles that you should learn to get the most out of a piece of gear. I will find someone who has an API that I can test before I decide to buy one. Thanks again everyone.

[The Tasmanian]

I'll bet you'll fall in love with the API - it is one killer box - I have so many great compressors at my disposal, and the API is one of the most flexible beasts on the market for the money.
Also - many mastering places use them too, I've used it for a lead vocal comp, drum bus, kik comp, bass comp, guitar comp and stereo mix bus purposes.
Every time I have been impressed. It does smooth and subtle too. Dont forget to push the output gain in - this extra gain stage sounds amazing!
There is lots of user tips on the net for it too.
Let us know how you go.

[heathen]

The 2500 is good I agree also, quite a forgiving comp too, you can hit things pretty hard until they start to sound bad, just seems to keep things where you want them once set properly.

[DwaneHollands]

Argghhh....

I had to mention this, I'm not currently in the market for a buss compressor. But if you're looking for an API 2500 here's one on eBay from Canada.

$2245 buy it now! - Ex shipping (located in Canada)
http://cgi.ebay.com.au/API-2500-STEREO- ... _500wt_898

Again buyer beware, but that's a cheap API 2500!

[Lee]

Cheers Dwane for the link. I generally prefer to buy things new and I haven't had time to track one down yet to test, so I couldn't buy this within the next 6 days. How do people go about replacing the power supplies when they buy gear from overseas? It seems to me that it could be a problem. Is that your API gear on your avatar?

[Chinagraf]

There's a voltage selector on the back, but you have to change the fuse to 1/4 amp if it was set up fot 110V originally.
Other stuff without a voltage selector is easy to run off a stepdown converter.

[DwaneHollands]

Cheers Dwane for the link. I generally prefer to buy things new and I haven't had time to track one down yet to test, so I couldn't buy this within the next 6 days. How do people go about replacing the power supplies when they buy gear from overseas? It seems to me that it could be a problem. Is that your API gear on your avatar?

Yeah it is. 2 x 512c, 2 x 550B, 2 x 527.

I love the sound of the 2520 output amp!

Also 2 X 527 does not a 2500 make. One day ill get around to getting one.

[Lee]

Thanks Andy. That's an intuitive design to have a voltage selector on the back. It's nice that they thought about everyone. How common is it for gear to have a voltage selector? I would also imagine that if you collect older gear then you would need to buy a new step down transformer every time, which would become even more expensive.

[Chinagraf]

Hi Lee, most stuff from the early Seventies on has voltage selectors. BUT you must remember to change the fuse. The rating is normally half the amps of the one for 110V, but it will be written on the back of the unit in nearly all cases.
You don't need a separate stepdown transformer for each piece of gear, you just need one powerful enough to run a few pieces. There are various models with different current ratings, same as those 9 volt
plug pack tranformers can be rated as 500 milliamps, or 1 amp etc. I run a few units off each of my stepdowns as they are rated high enough amperage to do it, ie - I have an LA2A and a Pultec running of the same one.
Some people buy a real big one and run a whole rack off them.
As far as replacing power transformers, if it's a guitar amp you are taking around to gigs it is worth doing, but for a piece of outboard that sits in a rack and goes nowhere it is simpler and IMHO is better because it keeps the unit in
original condition.
Cheers.