Heh. Yeah I get the light as possible compression philosophy but usually when you reef on the knobbies you get some drastic results which I wasn't on the tracks which I found odd especially on the ultra distorted guitars. This is a scorching metal song so hearing the compression a bit is somewhat desirable (IMO). Like I said when I tossed it on the master it was very noticeable and turning it up really tightened everything up so it definitely works.

However that's not exactly why I bought it but I don't have any acoustic/vocal tracks to play with yet. That'll come after this bleeping metal song is finished (only got the outro solo left and I've got a theme mapped out... just need to record a good take of it.)

I think you should definitely be able to hear the PC2A if you abuse it. It is a great compressor without a doubt. My favourite in the PC anyway.

It's been my favorite as well.  It has been on nearly every vocal and acoustic track since I got it.  It does something really nice to vocals.  I remember Craig Anderton had a thread going a couple of weeks ago where he basically said the same thing...using it on all of his vocals lately.

Sometimes, when I think I cannot hear what a compressor is doing, I turn the volume down real low and do an A/B and all of a sudden it becomes apparent. Compression is probably the hardest effect to master, in terms of listening skills. It's oftentimes I will sense the effect almost subconsciously without being able to put into words what it's doing. Sometimes I cannot tell whether or not a compressor is making an improvement until it catches me unawares on a later listening and I think "boy this track is sounding really coherent now."

sharke

I will second that! 
I bought this when it first became available and use it for all kinds of track and bus "warming" ... I have found this to be a welcome tool for all kinds of subtle sweetening.
 
meh
 
p.s but I still can't get the hang of this forum software    :-(

meh

Sometimes, when I think I cannot hear what a compressor is doing, I turn the volume down real low and do an A/B and all of a sudden it becomes apparent. Compression is probably the hardest effect to master, in terms of listening skills. It's oftentimes I will sense the effect almost subconsciously without being able to put into words what it's doing. Sometimes I cannot tell whether or not a compressor is making an improvement until it catches me unawares on a later listening and I think "boy this track is sounding really coherent now."

sharke

I will second that! 
I bought this when it first became available and use it for all kinds of track and bus "warming" ... I have found this to be a welcome tool for all kinds of subtle sweetening.
 
meh
 
p.s but I still can't get the hang of this forum software    :-(

LOL... no kidding.

wormser


This works on Sonar X2 Producer as well, correct? IOW there is no Sonar X2 "Expanded". Unless I missed something :)

Yes, it works in X2 Producer or X1 Producer Expanded.

  Tanx!!!

Me too Karl.  I was always taught that if you can hear a comp working....you don't have it set right.  That is unless you're looking for that "pumping" sound.

FastBikerBoy

tbosco


Actually... I am sometimes under the impression yer NOT supposed to hear the compressor... it's just supposed to quietly do its thing... LOL  (Someone told me if ya can hear it, yer doin' something wrong.)  That's true sometimes, I'm sure.  Thoughts?

BTW-  The Concrete Limiter works GREAT!

Just reading this thread through and I was about to post exactly the same thing.........

That's the thing I like about this compressor...you see the gain reduction happening yet it doesn't sound like it is compressing (at least not much as what the needle shows). It just simply gives takes with sustained notes a smooth transparent energy making the dynamic range smaller but alive. Helps sit things nicely in the mix and  I was actually quite surprised by just how transparent it does this. With any compressor you have to know what to listen for in order to understand what it is best suited for (not respective what is being compressed but what the compressor actually does and how it does it). 


Missed the half off deal the first time around but jumped on it this time. So glad I did! 

Teds_Studio


Me too Karl.  I was always taught that if you can hear a comp working....you don't have it set right.  That is unless you're looking for that "pumping" sound.

FastBikerBoy

tbosco


Actually... I am sometimes under the impression yer NOT supposed to hear the compressor... it's just supposed to quietly do its thing... LOL  (Someone told me if ya can hear it, yer doin' something wrong.)  That's true sometimes, I'm sure.  Thoughts?

BTW-  The Concrete Limiter works GREAT!

Just reading this thread through and I was about to post exactly the same thing.........

The LA2A style comp is a very aggressive device, the fact that the real units are tube reveals that in many fashions it also functions a bit as a "pre"...I use my Mohog 1176's as pre's all the time and it is a really one of the primary go-to's for the 2 buss, not really intended as a pre...

Thats why I thing UAD has done a great job on their version, it sounds remarkably like a pre with a bit of dirt and lots of "color" when you push it...having owned the real thing and compared it to the emulation I can say the difference between the two is very thin, and the difference between the UAD and Cake versions is one step removed from that...the Cake version stays pretty subtle, clean if you will, the real life units do not.

But ultimately back on discussion IF a comp can be used in a noticeable fashion, its not hard to dial it back to "un-noticed" but the reverse is not always true...