Well... probablyeduardo_b wrote:Permanently, though...that's a long time
To me, this would be the most important reason to add something to the toolbox. It does what nothing else can. The converse would thus also be true. When something sounds like others in its category, then the one with the best UI or other quality gets used and the rest can go away.bmanic wrote:What for me makes a tool unique (in this case the ArtsAcoustic compressors) is when it can deliver a sound that I can not reproduce with anything else. This is definitely the case with the CL series compressors.
We talking virtual or also hardware? With the latter, they seem to build their collection of outboard gear and then get on with the business of using it. Not as sure about software.Tp3 wrote:Well... probablyeduardo_b wrote:Permanently, though...that's a long time
But if the info that I read about producers/technicians is correct, then well... it's like that.
Do you have another logical explanation as to why WORKING technician tend to USE very small amount of processors
and rarely change them ?
| LinksA new article at ProRec ? Would be very cool from you.bmanic wrote:What for me makes a tool unique (in this case the ArtsAcoustic compressors) is when it can deliver a sound that I can not reproduce with anything else. This is definitely the case with the CL series compressors.
I'm still learning to use these as I haven't yet mixed a whole piece with them but I'm beginning to feel that these will be indispensable for me. They just have a certain unique vibe/feeling to them. I'm especially impressed with the way the preamp/tube emulation/input drive thing sounds. Even if I'm not after compression at all I pull out the CL compressor just for this saturation color alone!
I also like it very much on wide open attack, fast release, settings. It can really make things smack in a nice way.
The only situation where I've had some issues with these compressors are with sources that I do not want to changed tonally. In these cases I usually go for something non-modeling, like Pro-C (it's gain transfer curve/program dependency is based on some analogue classics but there is no saturation nor component modeling going on), Bluecat Dynamics or the good old MjCompressor.
I'm still in the process of writing a full review of these as I plan to kick start a new "all about compressors" thread with tons of audio examples.. I just need to find the time to CREATE all those audio examples as nobody provided me any!
Cheers!
bManic
.We'll be back...later.dodokvr wrote:I suspect the reason that there's no love is because too many people are off on philosophical journeys and will be gone a long time...maybe forever.
Ah, well no, I was just going to write it here on the forum but now that you mention it, why not? If Brent finds the time to edit!K-Slash wrote:A new article at ProRec ? Would be very cool from you.bmanic wrote:What for me makes a tool unique (in this case the ArtsAcoustic compressors) is when it can deliver a sound that I can not reproduce with anything else. This is definitely the case with the CL series compressors.
I'm still learning to use these as I haven't yet mixed a whole piece with them but I'm beginning to feel that these will be indispensable for me. They just have a certain unique vibe/feeling to them. I'm especially impressed with the way the preamp/tube emulation/input drive thing sounds. Even if I'm not after compression at all I pull out the CL compressor just for this saturation color alone!
I also like it very much on wide open attack, fast release, settings. It can really make things smack in a nice way.
The only situation where I've had some issues with these compressors are with sources that I do not want to changed tonally. In these cases I usually go for something non-modeling, like Pro-C (it's gain transfer curve/program dependency is based on some analogue classics but there is no saturation nor component modeling going on), Bluecat Dynamics or the good old MjCompressor.
I'm still in the process of writing a full review of these as I plan to kick start a new "all about compressors" thread with tons of audio examples.. I just need to find the time to CREATE all those audio examples as nobody provided me any!
Cheers!
bManic
Good things take time
Send it on over! You know the drill!bmanic wrote:Ah, well no, I was just going to write it here on the forum but now that you mention it, why not? If Brent finds the time to edit!K-Slash wrote:A new article at ProRec ? Would be very cool from you.bmanic wrote:What for me makes a tool unique (in this case the ArtsAcoustic compressors) is when it can deliver a sound that I can not reproduce with anything else. This is definitely the case with the CL series compressors.
I'm still learning to use these as I haven't yet mixed a whole piece with them but I'm beginning to feel that these will be indispensable for me. They just have a certain unique vibe/feeling to them. I'm especially impressed with the way the preamp/tube emulation/input drive thing sounds. Even if I'm not after compression at all I pull out the CL compressor just for this saturation color alone!
I also like it very much on wide open attack, fast release, settings. It can really make things smack in a nice way.
The only situation where I've had some issues with these compressors are with sources that I do not want to changed tonally. In these cases I usually go for something non-modeling, like Pro-C (it's gain transfer curve/program dependency is based on some analogue classics but there is no saturation nor component modeling going on), Bluecat Dynamics or the good old MjCompressor.
I'm still in the process of writing a full review of these as I plan to kick start a new "all about compressors" thread with tons of audio examples.. I just need to find the time to CREATE all those audio examples as nobody provided me any!
Cheers!
bManic
Good things take time
I just have to get all this work load sorted first!
Cheers!
bManic
Because these people are ... old?Tp3 wrote:Well... probablyeduardo_b wrote:Permanently, though...that's a long time
But if the info that I read about producers/technicians is correct, then well... it's like that.
Do you have another logical explanation as to why WORKING technician tend to USE very small amount of processors
and rarely change them ?
Not many, though.shogger wrote:Because these people are ... old?Tp3 wrote:Well... probablyeduardo_b wrote:Permanently, though...that's a long time
But if the info that I read about producers/technicians is correct, then well... it's like that.
Do you have another logical explanation as to why WORKING technician tend to USE very small amount of processors
and rarely change them ?
Hahaha, no. They also could be pragmatic. More interested in results than in gear. Yes, there are people like that!
Shogger
Umm... it depends if you refer to KvR (or GearSlutz, to some extent) as the WHOLE audio community in the worldeduardo_b wrote:Not many, though.shogger wrote:Because these people are ... old?Tp3 wrote:Well... probablyeduardo_b wrote:Permanently, though...that's a long time
But if the info that I read about producers/technicians is correct, then well... it's like that.
Do you have another logical explanation as to why WORKING technician tend to USE very small amount of processors
and rarely change them ?
Hahaha, no. They also could be pragmatic. More interested in results than in gear. Yes, there are people like that!
Shogger
)They're too busy making music?Tp3 wrote:There ARE people like that.
They just don't hang around these places....
YEPeduardo_b wrote:They're too busy making music?Tp3 wrote:There ARE people like that.
They just don't hang around these places....
Tp3 wrote:The art of making music these days seem to split into two main branches :
1) Those who actually MAKE music and don't talk about it
(because who has time and/or will to speak of music after you've engaged for HOURS/DAYS/MONTHS in making it ?...)
2) Those who SPEAK about making music (and the tools for making music), as if it were the art of making music itself :)
Because when you're talking about studios that use primarily hardware, they'll buy multiple 1176's, LA2A's and Pultecs. It's not the same as an 1176 plugin where you can have 15 instances, so you take it for granted and start demoing the latest and greatest the next minute. Hardware's not so "disposable".Tp3 wrote:Well... probablyeduardo_b wrote:Permanently, though...that's a long time
But if the info that I read about producers/technicians is correct, then well... it's like that.
Do you have another logical explanation as to why WORKING technician tend to USE very small amount of processors
and rarely change them ?
Submit: News, Plugins, Hosts & Apps | Advertise @ KVR | Developer Account | About KVR / Contact Us | Privacy Statement
© KVR Audio, Inc. 2000-2026
