I'm interested in your thoughts, techniques and preferred equipment.
 
I have a some nice preamps/di's (Series 500 Ocean Audio, Warm and Radial) and a good (for me) digital mixer (Behringer X32). And Sonar on the computer.  I have no outboard compressors. I would like 4 ch of compression to smooth out the audio, with a limiter as well.  I've looked at all sorts, from FMR series 500, dbx 1046, drawmer and Rane C4.  Warm also have a nice looking 1176 coming out, although 4x 2U one ch comps probably isn't the best solution.
 
My goal is to smooth and limit, not necessarily color, but I'm not against color.

I'd think the budget is what speaks first...  Otherwise you could take it thru the roof.  Years back a studio I worked at had the La2a...and EVERYTHING went thru it...a track at a time.  I'd think some linked 1176 would be on the list, if we're in the right price range....plus another mono or stereo piece.

In my opinion if you are not tracking with compression to add color then there is no point in doing it.
 
I will also opine that just about any dsp compressor sounds better than any of the mid range analog compressors.
 
I track with compressors on vocals, bass, guitars and some drums but I do it specifically for the flavor it adds.
 
In my opinion, if you don't have compressors that add something that you are looking for then you might as well just record at safe gain levels and do the compression with dsp in your DAW.
 
best regards,
mike

http://www.sweetwater.com/store/detail/VariMu/
 
wouldn't this be a good front end piece?
 
or..
http://www.sweetwater.com/store/detail/AD2044/

The Vari Mu is marketed as a mastering limiter
 
The Avalon is nice.
 
I think you were on the right track when you mentioned the LA2A and 1176 in the previous post. :-)

mike_mccue
 
I will also opine that just about any dsp compressor sounds better than any of the mid range analog compressors.
 
 

I totally agree with this and [maybe] confirms maybe I'm not totally clueless... or at least I'm not alone in that thinking.

i love the sound of my DBX MC-6.
 
and i use it on almost every analog capture that comes in..
whether it is vocals, bass guitar, electric guitar, acoustic guitar, keys, percussion, drums, etc....
 
 
i don't have any settings that i use all the time..
i set it up different for every track, every time.
 
i set it until it sounds the way i want.
 
 
in other words, i use it for color, compression, limiting, gain structuring, EQ'ing, anything i need.
 
 
i have not found a software compression plug yet, that sounds the way it does.
 
i highly prefer analog compression to software compression.
 
that said, i use a LOT LOT LOT of software compression,
i just use it very sparingly.
 
 
sometimes i crush individual tracks with a WAVES L1, and that is probably my most highly used compressor.
 
sometimes, i put the L1 in line, and reduce the compression levels to the point where you can't even hear a difference....
unless you really listen.
and that, to me, is about color.
 

i think a pair of FMR RNC's would fit your bill.
 
 

What are your thoughts on the Waves compressor plugins? Like this, perhaps?  http://www.sweetwater.com/store/detail/CLANat/
 
I see your point that if I'm not coloring on the way in, then I may as well save my money on an outboard and spend it on VST compressors.  How do the prochannel compressors stack up?

I'm w/ Mike on this one.  A good vst beats most lower-cost compressors.  That being said, a good hardware compressor (actually, two) is a superb investment.  Going in, shaping is not the most important factor.  Hopefully you are not squashing the life out of things, since just about any modern converter at 24 bits will handle most signals w/o overs.  Once you get the signal in the box, you can do a lot.  But a little shaping going in can help steady the recored signal so it is easier to mix, but you need to be careful.  My guitarist is always ****ing about dynamics, while I'm worried about his signal sitting right in the mix so I like to shave a little of his wild dynamcs.  However, running a signal through a lot of high-quality circuitry and transfomers can make the sound more like what one expects a pro signal to sound like.  Like through a big time board.  And you can crunch the signal, adding the hair of saturation.  Trust me, that sounds a lot better through high-end gear.
 
The nice thing about two great compressors is you can run the mix out through them when you mix/master it.  All the goodness bestowed going in is doubled coming out.  Or soft synths, soft drums, yada yada yada.  It can make the sound "bigger" even if you ain't shaping or crunching.  We listen to most things that have gone through the myriad of electronics in a big board and you can get a lot of that "sound" using a chain of good hardware, esp. once you've used it for a while and know what to do.  So a stero compressor is good at least twice on any project.
 
As to what to get - figure your budget.  The FMC stereo comps are great for the money - not much of a sound but good for compressing.  The mono unit is more colored, but costs twice as much.  Good reputation tho I haven't used any of those much.  The Warm 1176 ought to be killer if it is up to the rest of Warm's standards.  I don't know about mixing through it, but I imagine putting a stereo sub buss for drums and other percusive stuff would be great.  I've got Warm's other gear and it hits way above its weight.  Another possible gem is the Radial Komit compressor in the 500 series.  I have the earlier, hand made units which are great.  Smooth SSL bus sound on the comps and an old-school diode limiter if you want crush.  Imagine the SONAR PC SSL comp on electrical steriods, followed by a hairy (if you clamp it down) limiter.  Great for channel inserts, stereo in or bus master.  I don't know how much Radial price-points the new models (they cost about half of the hand-made one's) but a great design.  Get a bigger lunch box and you can add other modules as the budget allows.  Finally, the RND comp.  I've got one of those, too, and it does exactly what you expect a comp to do, and it makes everything sound "bigger" going through it.  It will saturate beautifully but not distort.  There are plenty other good comps when you get into that range - $1500 or so.  The distressor is a popular and flexible unit, yada yada yada. You can't really go wrong when you get up there, or higher.  If you spend less you have to be more careful about what you are buying.  Nothing worse than dropping a couple hundred bucks on hardware and having to replace it soon.
 
@