With "loud" it can work wonders on a edgy voice. I like to use it following an 1176 with a 1.5:1 threshold/soft knee/feedback mode. Hey, I know its a mastering forum, but its still a great tool for the job. I really dig the 2500 on vocals (tracking or mixing). Get to know the unit well and you'll find it very rewarding. To me it's not *just* make-up gain I rather like to think of it as "make-up gain with extra juice!" To my ears it's a special knob that can really dial in some of the character from the API circuitry. The three knee settings are straightforward enough.ĭon't sleep on the make-up gain knob. "New" usually reduces gain more at the same settings than "old" so watch the meter and use your ears when comparing. it's a subtle difference but when you get to know the unit you'll appreciate the choice there. IME the "new" tone type sounds a bit more 'hi-fi' than the "old" type. For this style, with a song of a medium-ish tempo, I like to set the attack to 10ms and the release to 150-200ms, or roughly an eighth note. Put it in 'loud' mode and it will make the mix tastefully darker. Put it in 'medium' mode and it won't swallow a deep electric kick. I don't know any other compressor that can do this so well.Īnother favorite use is mix bus compression on a track with electronic drums. 'Loud' mode will bring down the cymbals and bring up the snare & kick. It's great on OHs for this very purpose, or for when you want to alter the cymbal-to-snare/kick balance on the OHs. This is one of my favorite uses for the 2500.
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