+1
I found one in mint condition for 120 euros a few weeks ago and it's really good.
Lucky me, it's perfectly stable here.
I also have DC8C, which is great too but can't comment on the others.

+1 Really still like the LiquidMix and still really quite gutted they do not seem to be at all working on an improved version to be honest The LiquidChannel is great/lovely to use as are thw two Liquid Mic pre-amps on the Liquid Saphire interface. Why uno focusrite? Obviously my LiquidMix doesn't work with my laptop because my laptop don't have FireWire but for a really great studio equalizer & dynamics processor its great + covers plenty of ground If they managed to run it on shit tool's TDM cards then don't know why it is not do-able native (I ain't a tech wizard so could be a 1000 reasons)

Not really concerned with which sounds/feels/performs as close to what piece of hardware something is sussopsed to but far more concerned with whether or not it will sound/feel/perform on whatever I have in mind. Honestly if I really wanted the real deal then in many cases it is not that many phone calls to sort something out...Chances are if I were working on anything other than my own personal stuff then it would be in an alright studio already. So with that said and all just IMveryhumbleHO, Some of my praise would go to:

Abbeyroadplugins RS135
ArtsAcoustic CL-Series (Do not own a license but they are great)
Audio Damage Rough Rider (The free one)
Avid System 5 lifted Channel Strip/EQ & Dynamics (Not on Pro Tools 10 so do not have a license. Its about the only real tempting reason to upgrade to be honest)
Cytomic Audio The Glue (Do not own a license but it is great)
Digidesign SMACK! & Digirack Dynamics 3
Focusrite D3 or D3 Redd Compressor, Forte Suite & LiquidMix
Harrison Mixbus 2 (Do not own a license but like the sound/results alot)
Klanghelm DC8C & DC1
Massey PlugIns CT4/CT5, TapeHead Saturator, L2007 & De:Esser
McDSP Compressor Bank & Channel G (Do not own a license but like them alot)
Metric Halo Channel Strip (Do not own a license but like it alot/Easy to use)
PSP Audioware oldTimer/oldTimer ME & VintageWarmer 2 (VintageWarmer, VintageWarmer2 & MicroWarmer)
Slate Digital Virtual Console, Tape & no doubt the upcoming Compressor Collections (Do not own licenses but like the sound/results alot, Those three together should make a cracking setup ITB. FXG)
Softube TubeTech CL1B, FET, Valley People Dynamite & Saturation
Sonalksis SV-315 Mk2, CQ1, DQ1 & TBK-3/Uber Compressor
Sonnox Oxford R3 Dynamics, Oxford TransMod & Oxford Inflator
Unique Recording Software Classic Console Strip Pro 2 (CCS Pro, CCS & Saturation) & Phat-C
Variety Of Sound Density Mk III, FerricTDS, NastyCS, Rescue/RescueAE, TeslaPRO, TeslaSE & ThrillseekerLA (I use ThrillseekerLA on its own often plus a few in series but also alot of time I use it in series after many other compressors plus any other processor and effect with the range dialled pretty much right back just for easy access to the 'stateful saturation' plus with just a little range the whole interstage also...Love it)
Vladg Sound Molot & Limiter#6 (Its way more flexable and capable than spending its life as sitting on the master out when peak-limiting is wanted, Again love it)
Wave Arts MultiDynamics 5 & TrackPlug 5 (Alot like the Metric Halo Channel Strip its just quick and clean to work with)
Waves API 2500, SSL 4000 G-Master Bus Comp, SSL Channel Strips, V-Series Comp, H-Comp, PuigChild, CLA-76, CLA-2A, CLA-3A, Kramer PIE & Kramer Tape.

Now I really couldn't say what the best is and it would not be pointless as each get used for certain reasons

All the best to all as always

Dean

Might be a few I have missed/not recalled but hey someone will probably mention them anyway

Wow

The time spent on CHOOSING the one to use could be better spent on building a career, raising a family, having
grandchildren and dying at the age of 100


Well, that would add up... to 120

Dean.. why Klanghelm's DC1 ?

it cuts out the low-end like a hi-pass filter

I really like Nomad Liquid Compressor. Clean (or not if you choose)and you can push gain hard without distortion.

Every instrument thread should look like this. For the same reasons.

Tp3 I am raising two children on my own as a single father (My son is 10 and a 1/2 and is on the autistic spectrum and my daughter is nearly 8 years old and well just a female! ) We get by somehow , Don't mean I can't be fond of dynamic processing (I haz analogue rack mount stuff also lol)

I do get your point though, All the best

Dean 'Soccer Mom/Dad'

A few more for the list:

• Eventide Omnipressor
• Mellowmuse CP1A, CP2V, CP3V
• Native Instruments Vari Comp
• Slate Digital FG-X
• UAD Shadow Hills Mastering Compressor

List themz... and add to those all the gear you want - since the 50's

Gotta say, this is Gear Porn at its best... "Analog Pussy" or "Brick(wall) - the Dick"

DMG Audio Compassion
Can do the character of any compressor you can think of if you know how to tweak it under the hood. Opto and british mods come with it.

Fairchild 670
Slate Digital Virtual Bus Compressors

Hey man you gotta love compressors! I've tried almost all those you mentioned and then some! haha

My personal love:

AA CL series
Elysia Mpressor & Alpha
Duende Bus Comp
Softube TLA-100A & CL1B
RND Portico 5043
Vertigo
NI Vari-Mu

Vertigo VSC-2

you can get it only today at plugin alliance for 99 instead of 299 usd (or 80 €).

just use the code in the marketplace bargain thread.

Yes indeed mate 100% agreed and fine personal taste you have also I must say IMveryhumbleHO
I've not tried some of the ones on your list but heard good things about them both via ears/examples and write ups/word of mouth. The NI Vari-Mu has got to be the one I will give a good going over when I'm able to do so as Universal Audio have the 'crown' with not much in the way of alternatives to thier UAD Manley one (LiquidMix has a good one but again it is not native). I always hold off unless I have the funds to buy a license before giving anything I'm intrested in a good thorough try (Well obviously where possible). On the 'one plug-in that covers serious acres of compressors' note, The one I would dearly love to have available cross platform fully native all formats is McDSP's CompressorBank, I miss that one quite alot
With all the various dynamic processors we all have access to it really is immense and for me the most crucial thing about compressors/levelling amplifiers is how each one can and does so much more than merely reigning in the dynamic range of source material, Changing the transients/shaping the envelope, distortions/saturation, Equalization to a fair extent in some cases. I do not use nor am that good with synthesizers which you are for example so having the bits of outboard I have/We have is to me the same as viewing the source signal as an 'oscillator' via mic placement can be controlled to a great degree but as with any synthesizer further signal processing/shaping is where all the fun is and each is usually more adept at getting from raw "oscillator" sound to controlled/shaped to purpose is the justification of having different flavours available. Just makes things so much more intresting and using equalization is simply not as much of a trip. From subtle to all out sonic demolition/character assination compressors are just the job & excite/inspire me. Hope that makes sense? I'm abit odd anyway and not the greatest at writing things the way I mean them. A thin sounding compressor works great on thining out say a kick which has too much thump clouding the click or a snare with too much 'body' vice versa for a thick sounding variety

All the best to yourself and all as always

Vertigo VSC-2 for 80 euros is total no-brainer! What a beast bargin

Dean

Same reason I will reach for Audio Damage's Rough Rider really, On say a kick with too much clouding the click of the beater/attack then it works great, A snare with too much 'body' masking the crack higher up another application. Groups/Auxes where anything is getting abit to full in the low-end department. Usually on really up tempo tracks where thinning out most material will sound abit weak when listened to solo/in isolation but in the context of a mix work. This sort of track for an audio example even if it far from your cup of tea dude should explain what sort of thing I am referring to: http://www.mediafire.com/?8wf7a985r1s5zw1

Hope that makes sense what I am going on about. I have not found DC1A to be thin sounding though to be honest. However compression is one of those very personal/highly subjective areas where what can be one man's idea of ideal is another man's idea of living hell

All the best

Dean

Edit: As in I would not/have not reached for Rough Rider on fast tempo material but I have done on sludgey/doomy paced work and 'post-rock' stuff also. As Rough Rider rolls of the high frequencies by quite alot

[quote="Dean Aka Nekro"]


wow what a crappy mix !!!

Lol there is nothing between 200hz and 500hz.

the only bass there is unintelligible Sub-bass


Whoever mixed this was listening to the track Waaaay too loud. He was only hearing the The Fletcher and Munson effect

the guitar Buries everything like white noise going "rHaaaaaaaa" can't even even hear notes or chords. lol the guitar sounds like a stuck wah-wah.

we can barely hear the vocal Much less whatever he's saying.


and there is no dynamics its either ON or Off

I hope you didnt Mix this.