Recording - December 2017 - 49
roundness in comparison to the 1176. I
am not implying that it is heavy-handed
in any way with regard to coloration or
vibe; it offers a solid and saturated analog sound, but not in a dirty, vintage, or
edgy way. That said, the 500C is very
drivable for added thickness, even without using any compression at all.
Don't fret, it's a FET
While aurally different from an
1176, the 500C can easily be set by
ear to perform in a ballistically similar manner, making it a great drop-in
choice anywhere one would use a classic FET unit.
It's well suited for controlling lead
vocals with a slow attack time, fast release, and a ratio of 4:1. The 4:1 and
8:1 ratios are fantastic for adding control and weight to electric guitars. Like
any good classic FET compressor, this
box was made for snare drum smack,
especially in ABI mode. In that mode,
it is a touch more controlled and tweakable than the erratic behavior caused
by jamming all the buttons in on an
1176-style box.
The 500C is great on the master bus
thanks to its 2:1 ratio and highpass filter.
I only had one, so I had to test it on a
mono mix of a full song (hey, some folks
still dig mono!). It worked well, adding
a solid, present thickening effect that
(thanks to the HPF) could be stable and
not pumped. On the flip side, it was a
great drum bus smasher when pushed
to higher ratios and more extreme settings.
Note that it does not offer a link option,
but I still think a pair of these would kill
on stereo sources.
Bottom line: the 500C is great anywhere you would use a classic FET
compressor; ballistically it's close
enough for horseshoes, as they say. The
bonus is that this particular FET compressor is super clean, solid in tone...
and its pots don't crackle like those on a
vintage unit. All in all, a brilliant option
for adding classic FET color and function
to your 500 Series arsenal.
PRICE: $950
MORE FROM: BAE,
www.baeaudio.com
RECORDING December 2017
49
http://www.clearsonic.com
http://www.baeaudio.com
http://www.pearlmanmicrophones.com
Table of Contents for the Digital Edition of Recording - December 2017
Contents
Recording - December 2017 - Intro
Recording - December 2017 - Cover1
Recording - December 2017 - Cover2
Recording - December 2017 - 1
Recording - December 2017 - 2
Recording - December 2017 - 3
Recording - December 2017 - 4
Recording - December 2017 - 5
Recording - December 2017 - Contents
Recording - December 2017 - 7
Recording - December 2017 - 8
Recording - December 2017 - 9
Recording - December 2017 - 10
Recording - December 2017 - 11
Recording - December 2017 - 12
Recording - December 2017 - 13
Recording - December 2017 - 14
Recording - December 2017 - 15
Recording - December 2017 - 16
Recording - December 2017 - 17
Recording - December 2017 - 18
Recording - December 2017 - 19
Recording - December 2017 - 20
Recording - December 2017 - 21
Recording - December 2017 - 22
Recording - December 2017 - 23
Recording - December 2017 - 24
Recording - December 2017 - 25
Recording - December 2017 - 26
Recording - December 2017 - 27
Recording - December 2017 - 28
Recording - December 2017 - 29
Recording - December 2017 - 30
Recording - December 2017 - 31
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Recording - December 2017 - 33
Recording - December 2017 - 34
Recording - December 2017 - 35
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Recording - December 2017 - 37
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Recording - December 2017 - 40
Recording - December 2017 - 41
Recording - December 2017 - 42
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Recording - December 2017 - 45
Recording - December 2017 - 46
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Recording - December 2017 - 49
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Recording - December 2017 - 72
Recording - December 2017 - Cover3
Recording - December 2017 - Cover4
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