4damind schrieb:
Klingt grauenvoll.
Ausprobiert, enttäuscht und wieder gelöscht...
Ein guter Beweis das nicht alles was früher gut war auch heute noch gut ist
Die Zeiten ändern sich und: vieles wird auch besser
Sorry, aber auch Du hast wohl leider nicht gelesen woher der Kompressor kommt und wofür er benutz wird/wurde:
<i>Capturing the signature sound of the ‘Listen Mic [g=322]Compressor[/g]’ from SSL’s classic 1980s SL 4000 Series consoles, the LMC-1 delivers a distinctive compression sound perfect for crunching room mics, mangling overdriven guitars or causing sonic mayhem on a vocal track. Originally intended to prevent overloading on a tracking room ‘talkback’ mic, the Listen Mic [g=322]Compressor[/g] became an essential factor in defining the drum sound of the 1980s, when producers famously began patching it into their signal chain to process ambient drum mics.
Every now and again a piece of audio equipment comes along that defines the sound of an era. Back in 1979 Solid State Logic gave birth to a legendary recording console. The SSL SL 4000E Master Studio System forever changed how records would be recorded and mixed, heralding a new age in popular music. In less than three years, every major studio worldwide featured at a least one room with an SSL “E” Series console.
The SSL Listen Mic [g=322]Compressor[/g] was the secret weapon in many producers sonic arsenal of recording techniques. Originally designed to prevent overloading the return feed from a studio communications mic, its fixed attack and release curves were eminently suitable for use on ambient drums mics. Of course, we’d like to take all the credit for this great sound, but as usual, it was the creativity of SSL users that led to the idea.
Long-time SSL user Hugh Padgham was one of the first to capture this new drum sound on tape,while working with Steve Lilywhite on Peter Gabriel’s ‘Intruder’, he told Mix magazine:* "On a normal console, you have a button to press to talk to the musicians in the headphones, but you did not have a button to press for us to listen to the musicians. To do that, you'd plug a microphone into a spare [g=190]channel[/g] on the desk and listen to your musicians through that. But the SSL had a reverse talkback button and there was a microphone hanging up in the studio already, a dedicated input into the reverse mic input on the console. And on this microphone, they had the most unbelievably heavy [g=322]compressor[/g], so you could hear somebody who was over in the corner.
"One day, Phil (Collins) was playing the drums,” Hugh recalls, “and I had the reverse talkback on because he was speaking, and then he started playing the drums. The most unbelievable sound came out because of the heavy [g=322]compressor[/g]. I said, My God, this is the most amazing sound! Steve, listen to this. But the way the reverse talkback was setup, you couldnt record it. So I had the desk modified that night. I got one of the maintenance guys to take the desk apart and get a split output of this [g=322]compressor[/g] and feed it into a [g=7]patch[/g] point on the jack field so I could then [g=7]patch[/g] it into a [g=190]channel[/g] on the board. From there, we were able to route that to the tape recorder."</i>