Would you say the dangerous bus comp is better value compared to a compressor like a tegeler crème if you had the chance to try it? Your input is genuinely appreciated.
@@AudioAnimalsStudio Hi guys. I'm in the same situation. Does Wes's ng Comp perform better as a mastering compressor than the Dangerous Compressor? Or do you recommend the Wes over the Dangerous simply to place it on the mix bus? Your recommendation would be very valuable. Thank you.
@Antonio_Cabanillas the wes audio NG bus comp now comes with the feedback cable. Which makes it a brilliant mastering compressor. This is now my choice of mastering compressor. Feedforward compression as a bus comp and feedback compression as a mastering compressor. I much prefer the wes audio over the dangerous comp.
Hello Paul.. Between the Dangerous Compressor and the Maselec MLA-2? Which one would you stay with? Would the Unisum plugin from Tone Prpjects be too far away? Thank you so much for your help... I want it for electronic music, pop and urban music, some rock... Thanks you very much..!!
@xorphase easy one to answer there. 100% the maselec mla-2. The mla-2 is an incredible compressor. Everything by maselec is top of the line. That's not to say the dangerous comp isn't create.
Have you tried the FCS P4S ME? Would love your thoughts on that Also debating getting the Buzz Soc-M. My current chain is: - SPL BIG - LTL Silver bullet - Bettermaker Bus Comp - SPL Tube Vitalizer - TK Audio M/S Station - Elysia Nvelope (M/S insert into the TK) - Bettermaker SPE - Audiotales 1954 Passive eq - Kush Clariphonic M/S - WesAudio Rhea - WesAudio Hyperion - TK Audio elliptical filter - Bettermaker Mastering Limiter I’m thinking of putting the SOC-M before the Hyperion and the FCS after the elliptical EQ
The Soc is great. I considered getting on a while back when buying the REQ 2.2. I don't have a great deal of experience using the FCS so really can't comment too much.
@vineetsharma3735 I would choose the rupert neve mbt over the portico. I also wouldn't get a warm EQ. So many better EQs. They really aren't all that good. Dangerous compressor over the 1176 for mastering.
Authentic instruments, real players and hardware demo all in one☕💯. Would you recommend it for a stereo bus insert too? for me that insert would be via a Dangerous 2-BUS+. Thanks!
@@AudioAnimalsStudio the alpha plugin is what i currently use. this would be my first mastering grade compressor hardware unit. do you think it would be an upgrade from using plugins?
@John Lemak 100% yes. I use the alpha hardware a lot here and the dangerous comp isn't as good but it is good. 3k comp vs 10k comp you would expect the alpha to win. The dangerous is brilliant though.
Thank you for sharing your respected opinion on the DM compressor. It is the last piece that I added to my gear list. I got it used though, and I was lucky to get it for much less. I want to listen to the combo of two bax eqs, one being used pre-comp and one to set the sidechain signal for the compressor. Apparently it works wonders, from what they say in studio DMI. I haven’t used it much yet though, I’m doing so many things these days. You saved me some time testing it with sax and your other sources you put to test. Thanks again!
At £3100 it's a steal. So if you got it cheaper used anywhere near £2000 you would have got a great deal. High end gear like this is usually as good as new if looked after when you buy used. Like I say in the video. If I didn't have the alpha I'd definitely put a dangerous comp in.
SPL Iron in the same price range as DM? Did Iron used to be way cheaper? They're like $5200GBP currently... At any rate the Iron blows away the DM to my ears, DM is for sure lovely but given the choice between an Iron and a DM I'm not hesitating one second to have the Iron.
100% agree. Iron used to be a bit cheaper. Everything has gone up. I would choose and did choose the SPL Iron over the DM comp. This Comp is still good. The Iron is just on a different level.
Paul, I've been watching lots and lots of gear videos trying to decide on something. I can get a Shadow Hills Mastering Compressor and that's what I've been most impressed with compared to every other thing I've listened to. Just so big, wide, and smooth. But still clear. The difference between the Shadow Hills and a lot of other hardware is bigger than some plugins vs their hardware counterparts. No other brand I've heard has that sort of smooth sound like the Shadow Hills out of the things I've been watching aside from Dangerous. Their 2-bus has it and this compressor does too. I like it a lot better than the Alpha based on the videos of the hardware version I've seen. What do you think about a few pieces of Dangerous gear vs a Shadow Hills compressor and plugins? My Fusion would be in there too. I feel like the Shadow Hills would allow me to get away with using emulation plugins much easier than with the Fusion alone.
The Shadow Hills mastering compressor is good. We had one for a few months but ended up sending it back and switching it for an Elysia Alpha Compressor which is an all round Swiss army knife of a Compressor. The SHMC started to fall apart over time. Lights started not working, power supply failure and performance degrading. This was my honest experience with a new one. I could have just got a dodgy one. Just bear in mind these things. You just don't get that with the Alpha. Have a look online there were a few people who had the same experience. Be prepared to have it back on the bench at some point. I find the SHMC is a luxury item. I've now got the Shadow Hill optograph, which is brilliant as it's just the optical section of the mastering comp with the transformer selection. I personally wouldn't buy a Shadow Hills myself. But I wouldn't say no to be given one or using one in a mastering session. I just wouldn't want the headache of owning one.
@@AudioAnimalsStudio Thanks for the insight. I’ve asked companies and people about maintenance costs and problems. There was a thread on Gearspace about this with SHMC. Someone would have had an issue and then someone else would have only had a light go out within a decade. I’ve seen some plugins and hardware sound really close across multiple videos like the Dangerous Bax. The Alpha was a little forward-sounding for my tastes. Bettermaker was something I was considering and they kinda sound like plugins that are maybe 25% smoother. Reminds me of the difference between the PQ hardware and plugin. It’s tough to decide what to get without being able to demo it. Shadow Hills allegedly used to be great at servicing things and then got a rep for slacking unless you were a big studio. How is your Iron holding up? Sound-wise I’m wondering what combination of pieces could equal or surpass the SHMC. Just only so much I can deduce from other people’s samples.
Would you say the dangerous bus comp is better value compared to a compressor like a tegeler crème if you had the chance to try it? Your input is genuinely appreciated.
If I had the choice of the two I'd personally go with the dangerous compressor
Looking for a high end master bus compressor, what are your thoughts between the Dangerous and the Wes NG Buscomp? Thanks man!
I have the Wes Audio NG Bus Comp in my mastering studio and I'd highly recommend it as your bus compressor.
@@AudioAnimalsStudio Hi guys. I'm in the same situation. Does Wes's ng Comp perform better as a mastering compressor than the Dangerous Compressor? Or do you recommend the Wes over the Dangerous simply to place it on the mix bus? Your recommendation would be very valuable. Thank you.
@Antonio_Cabanillas the wes audio NG bus comp now comes with the feedback cable. Which makes it a brilliant mastering compressor. This is now my choice of mastering compressor. Feedforward compression as a bus comp and feedback compression as a mastering compressor. I much prefer the wes audio over the dangerous comp.
Awesome - sounds great! Thanks for a pro demo on some killer sources
Hello Paul.. Between the Dangerous Compressor and the Maselec MLA-2? Which one would you stay with? Would the Unisum plugin from Tone Prpjects be too far away? Thank you so much for your help... I want it for electronic music, pop and urban music, some rock... Thanks you very much..!!
@xorphase easy one to answer there. 100% the maselec mla-2. The mla-2 is an incredible compressor. Everything by maselec is top of the line. That's not to say the dangerous comp isn't create.
Have you tried the FCS P4S ME? Would love your thoughts on that
Also debating getting the Buzz Soc-M.
My current chain is:
- SPL BIG
- LTL Silver bullet
- Bettermaker Bus Comp
- SPL Tube Vitalizer
- TK Audio M/S Station
- Elysia Nvelope (M/S insert into the TK)
- Bettermaker SPE
- Audiotales 1954 Passive eq
- Kush Clariphonic M/S
- WesAudio Rhea
- WesAudio Hyperion
- TK Audio elliptical filter
- Bettermaker Mastering Limiter
I’m thinking of putting the SOC-M before the Hyperion and the FCS after the elliptical EQ
The Soc is great. I considered getting on a while back when buying the REQ 2.2. I don't have a great deal of experience using the FCS so really can't comment too much.
Hi Paul. Great video, what do you think would be better for modern pop music? Dangerous Comp or Vertigo Vsc-3?
Tricky one that. Both very good compressors for modern pop music. The VSC-3 maybe just edges it.
Nice, but it s not a vari mu...for mastering it would be better no ?
I see a Goly unit. Have you tried the Goly Mastering equalizer?
Yes. It is a really good EQ.
Thank you for your Review! What do you think for EDM which one better Dangerous Music Compressor or Bettermaker Mastering Compressor?
To be honest both are brilliant. If it was my only compressor I'd choose the Bettermaker. Has more features.
@@AudioAnimalsStudio Thank you
for a analog mastering chain at least how many gears at least need ... for almost mastering purpose ?
@vineetsharma3735 I would say you need at least 1 EQ, 1 compressor, something for saturation/colour and ideally another EQ for mid side processing.
@@AudioAnimalsStudioa. portrico
B.Warm audio eq
C dangerous mastering compressor
Or 1176 ?
@vineetsharma3735 I would choose the rupert neve mbt over the portico. I also wouldn't get a warm EQ. So many better EQs. They really aren't all that good. Dangerous compressor over the 1176 for mastering.
@@AudioAnimalsStudio thanks sir ... So helpful... Can I have your watsapp number for better conversations and work
Mate, I been researching this comp for a lot time. I ended up up looking at the bettermaker too. Did you try the bm compressor VS the dm compressor?
I must say I preferred the DM comp to the BM comp.
would you get this or the ssl bus comp for mixing rap?
I would prefer the dangerous compressor over the bus plus. Although the bus plus has some additional features the dangerous compressor doesn't have.
Authentic instruments, real players and hardware demo all in one☕💯. Would you recommend it for a stereo bus insert too? for me that insert would be via a Dangerous 2-BUS+. Thanks!
100% yes. Would be a great bus comp. I loved the compressor. Like I say in my conclusion I'd have one if I didn't have an alpha compressor.
how does the dangerous compare to the alpha plugin?
I can't say I have compared it to the alpha plugin.
@@AudioAnimalsStudio the alpha plugin is what i currently use. this would be my first mastering grade compressor hardware unit. do you think it would be an upgrade from using plugins?
@John Lemak 100% yes. I use the alpha hardware a lot here and the dangerous comp isn't as good but it is good. 3k comp vs 10k comp you would expect the alpha to win. The dangerous is brilliant though.
Nice review - really like the Dangerous stuff. Would be interested in seeing a review of the Dangerous AD+ if you can get your hands on it. Thanks
Thank you for sharing your respected opinion on the DM compressor. It is the last piece that I added to my gear list. I got it used though, and I was lucky to get it for much less. I want to listen to the combo of two bax eqs, one being used pre-comp and one to set the sidechain signal for the compressor. Apparently it works wonders, from what they say in studio DMI. I haven’t used it much yet though, I’m doing so many things these days. You saved me some time testing it with sax and your other sources you put to test. Thanks again!
At £3100 it's a steal. So if you got it cheaper used anywhere near £2000 you would have got a great deal. High end gear like this is usually as good as new if looked after when you buy used. Like I say in the video. If I didn't have the alpha I'd definitely put a dangerous comp in.
SPL Iron in the same price range as DM? Did Iron used to be way cheaper? They're like $5200GBP currently... At any rate the Iron blows away the DM to my ears, DM is for sure lovely but given the choice between an Iron and a DM I'm not hesitating one second to have the Iron.
100% agree. Iron used to be a bit cheaper. Everything has gone up. I would choose and did choose the SPL Iron over the DM comp. This Comp is still good. The Iron is just on a different level.
Will it compliment ssl Fusion?
Yes it would be a good compressor for all compression purposes.
Paul, I've been watching lots and lots of gear videos trying to decide on something. I can get a Shadow Hills Mastering Compressor and that's what I've been most impressed with compared to every other thing I've listened to. Just so big, wide, and smooth. But still clear. The difference between the Shadow Hills and a lot of other hardware is bigger than some plugins vs their hardware counterparts. No other brand I've heard has that sort of smooth sound like the Shadow Hills out of the things I've been watching aside from Dangerous. Their 2-bus has it and this compressor does too. I like it a lot better than the Alpha based on the videos of the hardware version I've seen. What do you think about a few pieces of Dangerous gear vs a Shadow Hills compressor and plugins? My Fusion would be in there too. I feel like the Shadow Hills would allow me to get away with using emulation plugins much easier than with the Fusion alone.
The Shadow Hills mastering compressor is good. We had one for a few months but ended up sending it back and switching it for an Elysia Alpha Compressor which is an all round Swiss army knife of a Compressor. The SHMC started to fall apart over time. Lights started not working, power supply failure and performance degrading. This was my honest experience with a new one. I could have just got a dodgy one. Just bear in mind these things. You just don't get that with the Alpha. Have a look online there were a few people who had the same experience. Be prepared to have it back on the bench at some point. I find the SHMC is a luxury item. I've now got the Shadow Hill optograph, which is brilliant as it's just the optical section of the mastering comp with the transformer selection. I personally wouldn't buy a Shadow Hills myself. But I wouldn't say no to be given one or using one in a mastering session. I just wouldn't want the headache of owning one.
@@AudioAnimalsStudio Thanks for the insight. I’ve asked companies and people about maintenance costs and problems. There was a thread on Gearspace about this with SHMC. Someone would have had an issue and then someone else would have only had a light go out within a decade.
I’ve seen some plugins and hardware sound really close across multiple videos like the Dangerous Bax. The Alpha was a little forward-sounding for my tastes. Bettermaker was something I was considering and they kinda sound like plugins that are maybe 25% smoother. Reminds me of the difference between the PQ hardware and plugin.
It’s tough to decide what to get without being able to demo it. Shadow Hills allegedly used to be great at servicing things and then got a rep for slacking unless you were a big studio.
How is your Iron holding up?
Sound-wise I’m wondering what combination of pieces could equal or surpass the SHMC. Just only so much I can deduce from other people’s samples.
Don’t impress me so much