VCA compressors are generally fast. Almost any other observation about them would depend on which one you’re talking about. Some are fairly transparent while nonetheless adding excitement to sources. Others – I’m thinking primarily of the API 2500 bus compressor [Tape Op #52] and the dbx 160 – are sought after by some for their color. However, notable exceptions aside, VCAs are often deployed to tame transients without radically altering the tone you’ve worked so hard to achieve. I currently use two different, clean VCA compressors for stereo buses: the SSL G Series compressor on my mix bus and the elysia xpressor on my drum bus, so I was thrilled to see how the desktop-style analog Neve 88C would compare. The 88C delighted me, surprising me with the recognition that a single VCA compressor can be as transparent or colorful as you like.
I put the 88C to use in my home studio over the past few weeks, auditioning it in both predictable and less common scenarios. As a stereo compressor on the mix bus, I set the 88C to a ratio of 1.5:1, with a medium release time and an 80 Hz high-pass filter sidechain selected. Then, I set the Threshold to achieve a maximum of 3 dB of reduction and pushed the Bypass switch on and off to adjust the makeup gain. The 88C offers true bypass for comparing dry and processed signals. I’ve learned the hard way that louder signals sound better to my ears, so I dial in the Makeup Gain carefully to ensure the processed signal is no louder than the dry signal. AMS Neve deserves some thanks for putting all of the controls on the front with clear labels and plenty of space between the knobs, each of which is also a pressable pot to control an additional setting. For instance, the Makeup Gain knob turns left to right to add gain to the output, but when pressed in, it also cycles through the three frequencies of the high-pass filter (80, 125, or 300 Hz). This thoughtful addition makes for fewer knobs crowding the front, thereby reducing the likelihood you’ll mistakenly adjust one knob while wrestling with another. The 88C was more colorful and noticeable than my go-to mix bus compressor but in a desirable way. I smiled. It may not be right for a transparent jazz or classical sound, but it adds lovely harmonics to soul, rock, and pop mixes. In the spirit of experimentation, I also tried the 88C on a full mix with the limiter setting, which gave a crunchier and crispier sound than it did at the lower ratio. Texture is your friend.