The Joemeek C2 stereo-optical compressor offers outstanding performance at a buyer-friendly price.

A case in point is the Joemeek C2 stereo opto compressor ($399). A solid-state unit, the C2 sounds great on snare drum, serving up an outstanding power-pop snare tone with a dark yet explosive attack (see the sidebar “Dialing in Hot Sounds”). The ability to get a defined but warm edge also makes the C2 a good choice for creating crunchy electric-guitar sounds. The C2 also does a surprisingly good job of smoothing out levels on inconsistent kick drum tracks. Whereas some optos respond to such transient material with inconsistent attack and release responses, the C2 is rock steady. You get a bit of transient overshoot, but overall the control is excellent. Overall, the Joemeek C2 is—at least for certain applications—the best compressor I’ve heard in its price class.

Another dual-channel opto compressor that does a good job of reining in kick drum tracks is the Bellari RP583 ($650). This hybrid unit employs a tube circuit for the internal processing and solid-state op amps for the input and output circuits.

An even better-sounding unit on kick drum is Joemeek’s SC2.2 stereo optical compressor ($799). The SC2.2 offers outstanding level control yet doesn’t thin out the drum sound very much—a universal problem when heavily compressing that instrument. It is one of the best compressors I’ve heard on kick drum.

In general, opto compressors are not my first choice for compressing arpeggiated acoustic guitar tracks. That’s because optos tend to pump in this application; you can clearly hear the level dipping and then recovering. Pumping occurs when the bass frequencies in a plucked note trigger heavy compression, which in turn attenuates highly noticeable mid and high frequencies. That said, the SC2.2 delivers a surprisingly transparent sound on acoustic guitars.

The C2 and SC2.2 also sound smooth, natural, and beautifully warm on vocal tracks. But the most venerable of vocal compressors is the single-channel Universal Audio Teletronix LA-2A Leveling Amplifier ($3,495), a faithful reproduction of the highly coveted, ’60s-era LA-2A tube compressor. The LA-2A has an uncanny ability to warm up a piercing or thin vocal, and it smooths the most unruly vocal dynamics with a transparency hard to match in other compressors. The LA-2A also sounds great on bass guitar, kick drum, and snare drum.

Another unit that sounds absolutely gorgeous on vocals is the aforementioned Millennia TCL-2 Twincom, a dual-channel unit with switchable tube and solid-state audio paths for each channel. If you’re looking for a compressor with stunning clarity, nuance, and depth, look no further than the TCL-2.

The Anthony DeMaria Labs ADL 1500 ($2,995) is another great opto/tube compressor for recording and processing vocals. It’s a dual-channel, vintage-style (two-knob) opto with a fat sound and a soft top end.

Although out of production, the Groove Tubes CL1S dual-channel opto/tube compressor is worth mentioning in case you can find one used (the original price was $2,295). The CL1S is one of the most lush-sounding compressors ever made; it imparts rich yet present textures to everything it touches. The unit’s only downside is it is quite finicky; it pumps readily if not set up with painstaking care. But for dialing in huge, velvety vocals, thundering bass, or slammin’ electric guitar, it’s the compressor to get—if you can find one. The CL1S also sounds great on kick and snare.

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Reprinted with permission from Magazine, February, 2001
© 2001, Intertec Publishing, A Primedia Company All Rights Reserved