Why I moved on from DC8C 2...

[Rah]

I've "moved on" from DC8C2, in the sense that I just don't find myself using it that much anymore. My understanding of compressor science is too primitive for the advanced features of DC8C2, and the four "Simple" modes rarely seem to hit the spot for me I'm afraid.

That's my experience, completely.

I got Presswerk, and it just makes a lot more immediate sense to me, it sounds great, and I can still dig into it and discover new things I can do with it

[Naenyn]

So, something I've wanted to ask for a while now but wasn't sure where to do it.. this seems as good a place as any. What would be the reason for using a compressor like this as opposed to something like Pro-C? I'm so used to my FabFilter stuff that I never think to try other compressors.

[jrides]

So, something I've wanted to ask for a while now but wasn't sure where to do it.. this seems as good a place as any. What would be the reason for using a compressor like this as opposed to something like Pro-C? I'm so used to my FabFilter stuff that I never think to try other compressors.

If Pro-C is presently satisfying your needs, and giving you the sound that you are looking for, the answer is... there is no reason to use anything different.

[Naenyn]

If Pro-C is presently satisfying your needs, and giving you the sound that you are looking for, the answer is... there is no reason to use anything different.

I think the thing that I'm struggling with is I've never used analog gear and never understood what people meant by "character" compressors. Maybe my ears just aren't trained, but the handful of compressors I've tried all sound the same to me. I feel like I'm missing something important. Same problem with EQs.

So in an attempt to remain on topic .. what would be the reason to choose DC8C over others? I understand a lot of it is personal preference, but what else is there?

[Tricky-Loops]

So in an attempt to remain on topic .. what would be the reason to choose DC8C over others? I understand a lot of it is personal preference, but what else is there?

From the description:

If you aim for color you can choose between two saturation models.
From opto style, peak compression, external side-chaining, RMS compression, Feedback, Feedforward compression (and everything in-between) to negative ratios, zero latency brick-wall limiting, from snappy transient treatment to smooth transient rounding - everything is possible.

But if you don't need all these, there's no reason to leave Pro C...

[medienhexer]

Tbh, I use the entire FabFilter Pro range and find myself mostly using them over others. Except for Pro-C. I don't know, just doesn't work for me.

DC8C can be really transparent, almost invisible. Although for me, it doesn't seem to work as a 'mix into' compressor you can leave on your master during mixing, shaving off 1-2dB.

If you want a specific color, use the respective emulation.

Take the NI VC160, for example. That thing makes everything snappy. If that's what you're looking for, use the tool that gets you there immediately.

The BX mpressor... If you want to du crazy things to the attack to really change an instrument's character - spot on.

Rock drum buss compressor... Well, the SSL Bus Comp just somehow sounds right there.

I think 20€ is an everyone-should-just-go-ahead-and-get-it price. But I doubt it will be the best choice in every situation.

[jrides]

If Pro-C is presently satisfying your needs, and giving you the sound that you are looking for, the answer is... there is no reason to use anything different.

I think the thing that I'm struggling with is I've never used analog gear and never understood what people meant by "character" compressors. Maybe my ears just aren't trained, but the handful of compressors I've tried all sound the same to me. I feel like I'm missing something important. Same problem with EQs.

So in an attempt to remain on topic .. what would be the reason to choose DC8C over others? I understand a lot of it is personal preference, but what else is there?

If you can't hear a difference you don't need a new compressor. You mighr benefit from some experience with hardware. DBX 160x or 163x is a inexpensive piece that does something that is easy to identify.

Once you can hear a difference you can decide if you care.

[Naenyn]

Thanks for the thoughts, everyone. Good ideas that help me get a better understanding of things.

While I highly value being able to work complete in-the-box, it would be nice to try out some outboard gear just to hear what the difference is. I've heard FabFilter's stuff described as being very clean/digital/surgical. so understanding how that differs from the stuff that adds "character" is somewhat of a mystery to me...

[GHOST19]

So, something I've wanted to ask for a while now but wasn't sure where to do it.. this seems as good a place as any. What would be the reason for using a compressor like this as opposed to something like Pro-C? I'm so used to my FabFilter stuff that I never think to try other compressors.

What's good in making music when you could be collecting compressors instead KVR style ?
You're definitely missing something

[toothnclaw]

never understood what people meant by "character" compressors. Maybe my ears just aren't trained, but the handful of compressors I've tried all sound the same to me. I feel like I'm missing something important. Same problem with EQs.

They don't compress in a 'theoretically perfect' or 'ideal' way. That's because they use real-world parts (limited precision by default), run on electricity (hum, noise, etc.), and have design limitations (cost, current state of technology, etc.). Also, each does things its own way (design, specs), that's character.
All this results in imperfections in the actual process of compression and in coloration of the signal with THD, saturation, etc. And makes them sound more 'musical' than clean digital compressors.
This is studied by psycho-acoustics. Small random modifications, details, textures have been found to entertain the ear much more than a 'clean' sound. That's the whole thing behind this analog craze - ultimately it's ear lust, or auditory receptor lust for more detail. (The same goes for distortion/fuzz/overdrive.)

But please don't buy any hardware just to hear what it sounds like - there's plenty of modeled compressors, even freeware.

[Zombie Queen]

the handful of compressors I've tried all sound the same to me. I feel like I'm missing something important. Same problem with EQs.

To be honest, I feel just like that mostly. There are dozens of compressors and eqs, I'm trying them out, thinking, if there are so many there must be something in it, but in the end the difference is hard to grasp, it is cool to have so many, but I keep using one I know best, with occasional 'try the other one, maybe it sounds better, or at least it will justify the purchase...'. Then let's fact it, 'character' basically translates to 'distortion'.

[Aubrey Lamont]

I mostly just use the compressors that come with Ableton (their stock compressor and the Glue).

I have DC8C if I really want to shape or add character to my drum samples, but I don't use it much. Even for these limited purposes, it was well worth the low price.

[transmetropolitan]

the handful of compressors I've tried all sound the same to me. I feel like I'm missing something important. Same problem with EQs.

To be honest, I feel just like that mostly. There are dozens of compressors and eqs, I'm trying them out, thinking, if there are so many there must be something in it, but in the end the difference is hard to grasp, it is cool to have so many, but I keep using one I know best, with occasional 'try the other one, maybe it sounds better, or at least it will justify the purchase...'. Then let's fact it, 'character' basically translates to 'distortion'.

I suspect this will be a long reply, but there are a few things I wanted to say on this based on my own experiences.

For me it's totally preferable for most tasks to have one or two tools that I know intimately and get predictable results from rather than a load I throw on things almost on a whim. I'm not saying there aren't times I run with a gut feel or experiment, because there are.

But I also realised that what gets me most bang for buck in every sense is being able to work quickly and smoothly. Keep the creative flow going, rather than slowed by unfamiliar tools or bogged down in pointless detail. 20 minutes going through 5 different ITB compressors might net me a 1-2% improvement (maybe) in the small detail on an individual track, but I might lose 5-10 times that in the context of the track from not keeping an eye on the big picture. I want to work quick, decide quick and move on.

I also want to avoid overprocessing things, because it's a common mistake IMO - let's face it, if you buy a lot of compressors the odds that you will compress too often don't go down. And to be honest, in my experience the difference between one plugin and the next is on average way less than with hardware.

So with EQ for example I currently use 3 plugs only - and that is probably too many by at least one. Those are:

- Waves API550b. What I like about this plug isn't a magical sonic signature, but the way its combo of fixed frequencies and db jumps aid my decision making. If something isn't obviously improved with a 2 or 3 db EQ step then it comes off and if needs be I rethink.

- TDR Slick EQ. Which I use when I actually want something a bit more surgical.

- Boz +10db - The new boy on the block. Which I use because especially on low end it is noticeably different (to me) from anything else I've tried ITB. But it's also new, so my perspective is different.

Not saying any of that is 'right' but it is what works for me, and IMO running through loads of things that basically sound the same to you is the solution to a problem that doesn't exist. To me the time to add something to your toolbox is when you try it and it is fairly obviously different/superior to what you're already using, or there is a specific job it will do that nothing else will.

One last point. 'Distortion' technically means any change, so in that sense you're right to say it's synonymous with 'character'. But that's not to say that adding a subtle layer of fuzz on things will impart desirable character. Harmonic distortion is only one part of the picture.

For me this is a point that's much easier to understand with hardware - I'll give an example. I'm quite a fan of hardware samplers. Even if I run them on very conservative settings, the difference between my Roland S760 (smooth), my Akai S900 (rough/flat) and Akai S01 (smeary) is very obvious. If I compare that to say the digi mode on Klanghelm SDRR or D16 Decimort its default starting point is way more neutral/transparent. So the difference between say SDRR and Decimort doesn't reveal itself nearly as obviously.

So yeah. Long post - hope that helps, happy to discuss.

[itneveris]

Yeah, here in lies the issue with too customizable plugins. Why take the time to set the DC8C to sound like an FET when you can just get an FET emulation?

[Lesha]

Yeah, here in lies the issue with too customizable plugins. Why take the time to set the DC8C to sound like an FET when you can just get an FET emulation?

Or just load a preset in DC8C.