EQ Magazine - December 2008 - (Page 63)

BURGIN MCDANIEL KOMIT PRICE: $995 STRENGTHS: One knob operation. True hardwire bypass. Independent limiter. Gain makeup. LIMITATIONS: Requires the right input for proper gain staging. Meter less useful than standard VU. CONTACT: www.burginmcdaniel.com Talk about vibe: The Komit comes in an Army issue ammo box, has G.I. Joe green-rubber knobs, and a level meter that looks like the control panel from a missile silo. The guys didn’t like the meter, but I did—it fits with the unit’s personality. Instead of ratios, there is a compress knob that has images of a circle that gets more squashed and pancake-like as you go clockwise. But don’t think this is all sizzle and no steak. Both Kevin Burgin and Travis McDaniel have years of audio and tech work on their résumés, including working side-by-side with Mr. Rupert Neve. The Komit is a feed-forward compressor and limiter. Simply set the level, choose one of three presets (fast, med, slow), pick a compression level, and you’re ready to go. However, note that the Komit requires a reasonably hot signal for best results, so be prepared to drive this box hard—but that’s expected, because this is a macho compressor. You know the type: just a man, some coffee, slab of bacon, a six-shooter, and his horse. In fact if John Wayne were a compressor, he would have been the Komit: “Look guitars, I need you to plunk yourselves right here in the mix and stay there!” I would describe the sonics as vintage, thick, Neve-esque, rich, and slightly aggressive; it’s great on guitars, bass, backing vocals, synths, and drums (individual or bus). The Komit is not as clean or hi-fi sounding as the AnaMod, but it doesn’t want to be. If you work with rock and roll, you want a Komit. Or two. BUZZ AUDIO POTION PRICE: $1,150 STRENGTHS: Mix feature. Sidechain ability. RTR can sound like a pro riding the fader. Could be your next go-to vocal compressor. LIMITATIONS: Takes up two spaces. Not as “warm” as the Essence. Lowest ratio 3:1. CONTACT: www.buzzaudio.com Like the Essence, the Potion requires two spaces in the 500 chassis, and offers the same sidechain and linking powers. The Potion uses a Field Effect Transistor (FET) gain reduction element, which sounds completely different from the Essence. I would describe it as being more forceful, but not in a harsh way. Other differences include unique ratios of 3, 7, 10, and 20 to 1, a Release Time Reduction (RTR) setting that automatically changes the release depending on the attack depth, and a mix knob, that allows you to blend the uncompressed source with the compressed signal for true parallel compression effects. The Potion was solid on instruments, especially guitars and bass. Having the mix option made all the difference. Remember those unruly bass and synth tracks? They were no problem for the Potion. We just selected its super-fast 50 microsecond attack and a 10:1 ratio, then blended this in until we had a sound that was in control without having that dehydrated, fatiguing sound. Kick drum or snare sticking out too far? Just add an equalizer to the side chain and tell those kids to have a seat. But save room for vocals with this box, because the Potion is great regardless of genre. We tried rock, country, and rap tracks. A 3:1 setting with the proper mix percentage and the Potion can make the vocalist sound like those old pros who knew how to work a mic. (CONTINUED) www.eqmag.com DECEMBER 2008 EQ 63 http://www.burginmcdaniel.com http://www.buzzaudio.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - December 2008

EQ Magazine - December 2008 Contents Talk Box Sounding Board Punch In My Morning Jacket Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Cakewalk Sonar 8 Propellerhead Reason 4 Indie 500: Lunchbox Pres and Compressors 500 Series Preamps 500 Series Compressors Gadgets and Goodies Sounds Room with a Vu

EQ Magazine - December 2008

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