Kristian Dillen...
I´ve tried the SOC 1.1 for 2 days now, yesterday on programme
material which gave nice and pleasing results when tweaked with a low
ratio and at moderate settings of course, hardly audible but some nice
things happened. I also tried a bit of parallel compression, gave the
opto a bit more drive and blended it with the straight signal which
gave excellent results. It is indeed rounder with more personality than
the other compressors I toyed around with.
Today I added heavy
compression on a Blumlein recorded grand-piano and did that sound good
or what! - it just flew me back to the 60´s/70´s film score
sounds from my favourite movies with such excellent music on them. Now
I see what I have been missing and tried to accomplish without having
had the right means! Thank you for this superb product.
Camelot
Studios, Sweden. December 2008.
Thomas
Jouanjean...
What is amazing with
the SOC 1.1 is that whatever I strap it on, whether it is a drum bus,
bass, guitars or vocals it sounds absolutely great. It has become my
favorite compressor on basically everything. The unit really adds character
but at the same time remains silky and detailed - whether you hit -3dBs
or -12dBs GR. My only problem is that I only have one.
Northward
Studios, Belgium. July 2007.
Eli Janney...
I'm definitely keeping the Buzz Audio SOC 1.1. It sounds great and I've
only just scratched the surface of what it can do. It's like a [Teletronix]
LA2 but more flexible, and the fast mode is REALLY cool -- I just used
it on Perry Farrell's vocal on the mix of the new Satellite Party single..
brilliant! Talk to you soon! --
Producer, Engineer, Mixing for Satellite Party, Jawbox,
The Rapture, Melissa Auf Der Maur, Ryan Adams, Girls Against Boys.
Eli Janney website
Alan
Bachman ...
The Buzz SOC 1.1 Compressor is AWESOME. While some compressors color
the music, the Buzz is for people who want their instruments to sound
as they are. For critical acoustic instruments, this compressor is the
one. This SOC1.1 is great for tracking and on the 2-buss. It is highly
underrated and underpriced. Grab it while you can!
Salt Lake City.
Sept 2005.
Marcus Black...
Just wanted to say thank you for a great product. Had the SOC1.1 for
some time now and this one will never leave my rack. It never lets you
down and shines on all kinds of vocals, even with insane amounts of
compression it sounds relaxed and open, not stealing any highs and lows.
I just love this baby!
Songwriter/Producer/Engineer,
Stockholm, Sweden. May 2005. Visit
Marcus's website
Paul Kiem...
I just added an SOC1.1 to my
rack along with the SSA1.1 and I think I will just hard wire the two
together. I do mostly acoustic sessions and the combo is really great.
I just finished 3 sessions yesterday – a pretty mediocre sounding acoustic
guitar that was well played, a good sounding upright bass played slap
rockabilly style and a semi pro female vocalist with a nice but very
bright voice and a lot of dynamic range. All of the above are not usually
the easiest of recording tasks. However your gear (with the help of
some nice mics) made the task not only easier but musically pleasing.
I have to hand it to you. Thanks.
Sept 2004. Dove Creek Studios
Charles Curry...
I love it's [SOC1.1] open, large and transparent sound. The attack
and release settings are well chosen which gives me different sounds
and enables me to blend things within the mix. It's a beautifully built
machine and takes me one step closer to my signature sound.
May 2004. Charles Curry, Windermere Sound.
Tobias Lindell...
I finally got my hands on the SOC 1.1 and I just gotto say I am floored
! The SOC 1.1 could be smooth or agressive, very pleasent. I first hooked
it up on the lead vocal track I was mixing (Rachel Stevens). The lead
vocals just glues into the mix. The compression can be smooth when used
with fast attack, medium release or agressive with slow attack, fast
release. The compressor never ducks! Next up I used it on the 2bus.
Once again the SOC 1.1 ruled! It really glues everything together. Very
clean, really tightens up the low end. Compared with other high-end
compressors, the SOC 1,1 is right up there!
March 2004. Tobias Lindell, Producer/Mixer; A-Teens,
Rachel Stevens, BroSis, Bosson, E-Type
Visit Bohus Sound
Studios .
Stuart MacLeod...
Compression is one of my all-time favourite "things", and I LOVE good
compressors - I just can't normally afford them for my own studio! I
tracked some vocals with just 2 or 3 dB of light compression (using
the MA-2.2, SOC-1.1 and either a Neumann TLM103 or an AKG 414TLII),
then did some finger-picked acoustic (a lovely Martin orchestra model,
miked with a pair of KM184s in XY) with again just a hint of compression
- I thought the results were astounding even with this fairly subtle
use. So I did the obvious thing and squeezed the crap out of a Gibson
acoustic being hit HARD for a different song (one KM184, on 414TLII)!
It got me that old, fat, Jimmy Miller sound that I wanted (and love).
Outstanding, truly outstanding.
For me ... the sign of a real quality compressor is the way it handles
a full mix. I'm not sure how other engineers use compression on the
stereo buss, or what they're looking for it to do really, but I like
to use a compressor that, with only a couple of dBs compression at a
light ratio, ties the track together. For me this means specifically
that the voice sits better and the bottom end becomes more integrated
with the track. Very few compressors seem to be able to do this well
(I guess that's why you have to pay for them!) and my previous mix compressor
only got so far. I found before with my TL Audio C1 that by the time
I had got the result I wanted on the voice and the bottom end, the whole
thing was too squashed and un-natural. However, the SOC1.1 did the trick
perfectly - and almost instantly - on a pretty demanding track.
Stuart MacLeod, Engineer, Scotland. Nov 2002.
Ben Taylor...
One of the reviewers had pointed out what he felt was a drawback when
using the SOC-1.1 in stereo link mode is that you must set each channel
individually. Yes, I agree that the norm these days seems to go in the
opposite direction and I must admit it made me think for a moment. But
I believe he may have been hasty. I do a lot of live performance classical
recording and every so often find that I need a touch of gentle overall
compression just to keep levels away from the dreaded "digital over"
place. I also realized how often I wished I could tweak each channel
a little diferently and then let the link function do the rest. My take
on this is, it's is actually an added plus feature cleverly disguised
as a flaw (smile). Both the friend who turned me on to this thing [SOC-1.1]
and myself do acoustic music, albeit different genres, but both requiring
the best in transparency from every piece of gear we use. The SOC-1.1
is clearly, now, one of the most useful tools in my kit. Keep up the
good work !
Benjamin Taylor, Omniclassic Recording, Chandler, Arizona.
Feb 2003.
Warren Riker...
I've been beating the hell outta both your boxes (mic pre and comp)
and they both laugh at me....I still can't find a better compressor
for acoustic guitar (all the acoustics on the new DOWN record tracked
with it) check it!...that thing (SOC1.1) was worked to death
on the CORROSION OF CONFORMITY record because they erased the over head
tracks....(this was a live record by the way) so I compressed the dogshit
out of the tom mics to bring up some sloppy soundin cymbals and it worked
...waaallllllaaa!! so when can Iget a swing at that MIA unit?..... rock
on!
Warren Riker - Producer Engineer. June 2002.
John Wheeler...
My initial impressions of the SOC are quite good. I've used it thus
far on acoustic guitar and mandolin, and I like it very much on the
guitar; I arrived at the following settings: ratio 2:1, attack slow,
release 2 (I assume that's 200 ms) and enough drive to yield 3 - 5 db
reduction on peaks. The same settings weren't quite enough to control
the mandolin, which I believe will benefit from a higher ratio; I tend
to use an 1176 on 12:1 for mandolin, so as time permits I plan to try
some of the steeper settings. At any rate, the SOC is now my first chioce
for acoustic guitar, which was my primary reason for wanting the unit
- so I'm already happy.
John Wheeler - Renaissance
Recording
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