you're probably thinking of the focusrite compounder, theyre rubbish imo.tone-def wrote:You can get fairly cheap hardware compressors that punch above their weight. I used a focusrite compressor at uni once and i really liked it. I can't remember the model but I think it was cheap. I'll have to check my notes.
both me and my mate have got them and never use them.
i'll echo what AK said and say that project studio compressors are a waste of money, you'd be better off buying analogue filters.
i've got a bunch of project studio compressors ( Focusrite, dbx, TLA, Alesis ) that rarely get used, i think you need to spend upwards of £1000 for anything that is any good. not a good investment when you could be buying much more useful stuff.
like AK says i dont use compression, and i know ive banged on about it on here before, but a recent development is worth mentioning. although i stopped using compression while composing years ago, ive always assumed that a small amount of compression would always be required at a record cut to get the level up to the kind of levels and density that others are working too, but my instict told me that could well be a myth in itself. so for the first time i decided to put my money where my mouth is and for my latest release i would use no compression, or EQ, whatsoever from my kit to the vinyl, and asked the engineer to cut the record with no processing whatsoever including hi and low shelving (which is usually required when cutting vinyl) or even mono-ing the bass.
when the tPs came the other day i was really worried that i had maybe gone too far, till i dropped the needle on the record, it sounds massive. i compared it to about ten records which i consider to be well produced and loud, and it sounded equally as loud and in some cases louder, but much clearer and phat (to my ears) the other tracks sounded squashed, grainy and distorted in comparison.
the only problem is that this effect may not be repeatable in the digital domain, i havent compared it yet, but i can only assume that this only works because of mastering to vinyl, and that the same tracks wouldnt be able to compete with the levels attained in digitally released music. but we will have to see.
one thing that is often forgotten when considering loudness on vinyl, is the fact that there are many different factors involved, for instance - say you put two tracks on a side, that combined come to 12 minutes long, and on the onther side the combined length is 13 minutes, you would have to cut the first side 2 dB quieter for the two sides to sound the same level. 2 dB is a lot !
so more important than using compression etc. is simply the length of the tunes on the vinyl.
sorry for going off topic there, but just relaying info, i hope its some use.
edit
please dont think that i think my stuff sounds way better than everything else, far from it, there is lots of better produced stuff out there, my stuff is pretty raw and basic, all i'm saying is that you dont necessarily need to use compression and EQ to get your stuff up to a level that can be released.