The DM-24 is Tascam's latest offering in the world of affordable digital consoles. For the sake of fairness, however, I tried the G Series on a mix of a band that was much tighter with more consistent drumming. There are three switchable ratios (2:1, 4:1, and 10:1), six switchable attack settings (0.1, 0.3, 1.3, 10, and 30 ms), and five switchable release times (0.1, 0.3, 0.6, 1.2 ms, and Auto). All contents copyright © SOS Publications Group and/or its licensors, 1985-2020. Sometimes you want "character," sometimes you want "clean.". The XLogic series all get quite warm in use, largely because of the current demands of the Superanalogue circuitry. The unit has a maximum output level of a healthy +24dBu, so there shouldn't be a problem feeding digital mastering recorders directly from the output if required. I put the compressor to test during some recent mixing sessions, trying it out as both a buss compressor and a stereo mix compressor. On another session, I sent my entire mix through the XLogic G Series, looking to give the song just a little extra bit of love. Read Sweetwater customer reviews for Solid State Logic XLogic G Series Compressor Reviews. I had only enough fingers to pull everything but the drums, so I delegated that responsibility to the SSL's Auto Fade, which brought the post-compression level of the drums down to zero smoothly (without changing the amount of compression). Because the compressor is permanently linked as a stereo unit, I found it difficult to discern which side of the overheads was picking up more kick drum and skewing the triggering of the compressor. The XLogic G Series Compressor is another addition to the Solid State Logic family and is part of their SuperAnalogue series. The classic functional styling of the front panel makes it easy and quick to use, with simple controls providing all the essential parameters, and a traditional moving-coil gain-reduction meter indicating up to 20dB of attenuation. Photo: Mike CameronAnother nice touch is that the Autofade circuit generates a control voltage that, rather than being linear, replicates the audio taper of a real fader, so that the slope gets steeper towards the bottom of the fade, and sounds more natural, especially with longer fade times. Like the mix compressor from which it is derived, this XLogic unit does a great job of making any mix sound louder, but without becoming aggressive or obvious about it. Achieving a suitable setting is as intuitive as selecting the required ratio, dialling up the Threshold to achieve the amount of 'squash' needed, and then fine-tuning the Attack and Release controls to optimise the sound character. An Auto Fade button, in conjunction with a Rate knob, provides smooth fade-ins and fade-outs. Re: Why does Liam Gallagher's vocals sound shit? Construction is to exceptionally high standards, with very neat and safe wiring. The threshold and the make-up gain are both continuously variable. PreSonus StudioLive 32SC Series III Mixing Console. The next three are rotary switches, providing attack times of 0.1, 0.3, 1, 3, 10, or 30ms; ratios of 2:1, 4:1, or 10:1; and release times of 0.1, 0.3, 0.6, or 1.2s, or an automatic release mode. The G-series Compressor is no exception, and it is well worth heeding the handbook's warnings about leaving 1U of rack space above the unit, and about not placing it above anything else hot. One Synth Challenge V - The Filter Strikes Back! The TFPRO P38 is an analog, optical, stereo compressor that features four very different sounding dynamics models between which you can switch on the fly. The band wanted me to fade out all the busses, leaving only the toy piano to carry on to the end of the song. This impressive reputation made me curious enough to... Damage Control, a relatively new company started by a few Line 6 alumni, has made a splash with a pair of impressive high-end guitar pedals going by the very rock- and-roll names of Womanizer and... AwTAC (Awesome Transistor Amplifier Company) of New York is quickly proving itself as a manufacturer with high standards. This feature is also available on the optional remote. Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. Why does Liam Gallagher's vocals sound shit? The celebrated mix-buss compressor design from the G-series consoles has been brought up to date using SSL's latest Superanalogue circuitry. In both applications, I found the SSL to be of the proverbial "clean and transparent" variety, especially in comparison to my Alan Smart compressor. Simple controls allow fast, easy adjustment, and almost everything that passes through this unit emerges sounding louder in a complementary way. Before I got it, I had the idea I was gonna use it for snare drum. The attenuation law sounds natural for the vast majority of mixes, although I did find that I could achieve more pleasing fades manually with some material. While on the subject of handbooks, The Owner's Manual supplied with the G-series Compressor is a classic for 'tech heads'. Their mic preamps, summing amps, and control room... Womanizer tube distortion pedal, Demonizer tube distortion pedal, Jim Williams: Behind the Gear with Audio Upgrades, Restoring the "Holy Grail of Compressors": Behind the Scenes at the Vintage King Tech Shop, From WWII Planes to Stax Consoles: Behind the Gear with Bill Cheney & the History of Spectra Sonics, Rich Williams: Behind the Gear with Burl Audio. What is a "hybrid" audio interface anyway? Plugging the G-series Compressor in is simple enough, with nominal +4dBu balanced signals in and out. On the other hand, my Smart adds so much "character" to the mix that it's immediately apparent when you take it out of the chain. Burl Audio, under the direction of owner/designer Rich Williams, has developed some of the best new recording equipment over the last eight years. The Oxfordshire-based company Solid State Logic — SSL to their friends — have been at the cutting edge of analogue mixing-console design for many decades, and have recently also branched out into rackmount processing. Win! This 1RU stereo compressor is modeled after its patriarch, the compressor in the SL4000 G Series console. The unit is housed in a 1U rackmount case which extends 325mm behind the rack ears. I was pleased that the cymbals rang true and remained undistorted and clear. The Autofade facility is something I've never personally felt the need for — I like to pull the main fader up or down by hand. After some perfunctory operational instructions and technical specifications, you quickly find yourself amidst fairly detailed technical descriptions of how the circuitry works, complete with full circuit diagrams — proper engineer's stuff, but not perhaps of much help to anyone struggling to understand what the Attack control does! I've run out of room in my 11-space 500-series chassis to hold all the mic preamps I'd like to put into it. Rated 5.0 / 5 by 9 customers! I always like to use a stereo compressor before my mix source. However, internal circuit jumpers allow a 'hard bypass' to be selected instead, in which case four sealed changeover relays connect the inputs directly to the outputs — the disadvantage being that you can't then use the Autofade function if the compressor is bypassed. I had better luck in this case, and the compressor performed smoothly and added nice lift to the stereo mix. The views expressed are those of the contributors and not necessarily those of the publishers. Two pairs of XLRs on the rear panel supply balanced stereo line I/O, and a further female XLR offers an external key input. This particular mix was tricky due to an inconsistent kick drum.
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