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Germanium Compressor - Review
Old 25th July 2007
  #1
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Germanium Compressor - Review

Germanium Compressor – the 100 in 1 compressor<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p>
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by Arys Chien<o:p></o:p>
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I was very lucky to be able to try out the Germanium Compressor prior to its release. Therefore, I’d like to share my opinions here for those who have been interested with it.
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[Fundamentals]
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The Germ Comp is basically an FET compressor (the same gain reduction technique used on the famous 1176), with some features that you can find on other Chandler products, like the Sidechain on the Zener Limiter and Germanium Drive/Feedback combination on all Germanium units.
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The first switch on the Germ Comp is a hardwire bypass switch. When it is engaged, the Germ Comp simply wires the sound in and out of the unit, with none of the knobs or switches working. With this switch, you can compare levels, or check out what the Germanium Drive/Feedback combination does to your sound.
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Through some critical A/Bing, however, I did notice some subtle high end roll off and low end thickening. The good news is that no detail is lost, so it’s a nice coloring to my ears. As for transient response, it’s not an ultra-fast unit, like a GML, but still fast enough. That’s another good news to me, a pop and rock music maker, since I prefer gears that round up some transient.
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Then there’s the INPUT knob (named “Threshold” here on the proto types). It functions like the same knob on the 1176, TG-1 or Zener. You drive it harder to trigger heavier compression.
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In the back there is a “link” plug. When you chain two units together with a phonejack cable, both units react to the maximum volume any one of them receives.
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[Clean Comp; Dirty Comp; Good Comps]
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It’s a Germanium; it’s a FET compressor. Therefore you can imagine that it’s not transparent. The good news is that, the Clean Comp mode offers a clean and creamy sound, clean enough to retain the details, shape and depth, and creamy enough to breath life into a sterile sound and make a fake a bit more real. It works really great when you want to enhance the “attack”, like the strumming of an acoustic guitar, or the hitting of a percussive sound.
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Then, before going on to the Dirty Comp mode, I’d like to share with you my own humble opinion about the word “Dirty”.
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One mistake that I made, when I didn’t have access to high-end gears or monitors, was getting confused between “dirty” and “ugly”. That was the time when I started with a Mackie mixer, and then went on with all plug-ins.
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Later I realized the two were different. “Dirty” is good or bad, but “ugly” is always bad. You don’t hear manufacturers say “our product is able to produce THAT ugly sound!” or “You want ugly? You got ugly!”
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Ugly sounds are unpleasant to the ears. It should be obvious, since we are born to not like ugly sounds; yet just like the mp3s are ruining the ears of the young generation, plug-ins and cheap gears can ruin the listening ability of many home studio users too. I have even heard some main stream records where the engineers applied plug-ins to “emulate analog”, only to result in harshness and ugliness.
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That is why I was very happy to find that, while in the “Dirty Comp” mode, the Germ Comp still delivers a beautiful sound.
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From the <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /><st1:City><st1:place>Chandler</st1:place></st1:City> product page, it says “In Clean Comp THD ranges from .2 to .5%”, while in Dirty Comp it’s 2 to 5% and “adds vibrance and elegancy by the bucket load.” Comparing by ears, I found the Dirty Comp rolls off some highs without killing too much air. Therefore it’s not really “darker” than the Clean Comp, just thicker.
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I found it very useful to round up those “digital/ plastic/ harsh” artifacts in soft synth, soft sampler and DAWs. It’s not as simple as just rolling off the highs, or losing details by stepping into the analog realm, just like “analog” doesn’t equal to “muffle”.
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What’s more, devices that adds THD to color the sound usually pay the price of “sounding cheap”; even when they don’t sound cheap, they don’t sound elegant. The Germ Comp is one of the very few that takes great care of the THD to benefit from the best of both worlds. In my first e-mail to Wade I wrote “this compressor goes from ‘clean and creamy’ to ‘from hell’s garden’…,” the latter meaning “dirty/bad and beautiful/elegant at the same time”.
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[Future Standard: Sidechain + Mix Knob]
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More and more compressors have a high-pass filter in the sidechain to avoid low frequency material triggering the compression too early or too much. Some allow you to set the SC at more than one frequency points, for example, 100 or 200hz on the Manley ELOP. Yet the Chandler Zener Limiter is the first I know to have six settings (out, 30, 50, 90, 150 and 300). Now the same sidechain feature is also added to the Germ Comp, with all frequency points the same except the 50hz on Zener changed to 60hz. I don’t have to tell you how convenient it is to have a sidechain knob with six frequency points.
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About the Mix Knob. The Germ Comp is not the first compressor to have a mix knob. I saw this feature first on UAD-1’s Precision Multiband Compressor plug-in (0% <-> 100%), and then Tonelux’s TXC (Input <-> Comp) and Buzz Audio’s Potion (0% <-> 100%). Yet the Germ Comp sure is the first compressor that uses the terms “WET/DRY”. Very interesting.
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The good thing about parallel compression is that you get to squeeze the life out of the sound but are still able to keep the transient. “Visually” it’s like bringing the background sound forward and leave the front row sound untouched. Earlier on I was using the Germ Comp on a vocal track for a fast pop rock song. With heavy compression it brings out the energy and keeps the ever-shouting vocal very steady, yet with a touch to the dry side I'm able to keep the transients so the vocal is still very real and lively, and brings back just enough dynamics for powerful words.
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Then the other day I squashed a bass track with the Zener Hard mode and made it sound like an analog bass synth. And then I turned that magic Mix Knob a bit to the dry side. I got a live bass, with every picking so vivid before my eyes, plus an analog bass synth that goes with it perfectly. Very interesting effect. All with just the Germ Comp.
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As many users have said, “sidechain + mix knob” should be a standard for future compressors. And we are having them both in the Germ Comp NOW.

[Six Compressors in One]
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Here come my favorite parts. There are six “comp curve” modes in the Germ Comp: Ohm Soft, Germ Soft, Germ Med, Silicon Med, Silicon Hard and Zener Hard.
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Each of the six modes has its own character, both in sound and in the way they compress. When the comp curve mode is changed, everything is changed. The same marking on the same knob results in different real world values. They are so different that it’s really like having six compressors in one hardware unit.
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The Ohm Soft delivers the most neutral sound and the least obvious compression of the six. The attack setting is the most forgiving, and even with the fastest release time it’s hard to get the pumping effect, unless you set the ratio to the max and really drive the input.
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The Germ Soft reacts stronger than the Ohm Soft, with a “more Germanium-ish” sound of course. You start to see colors in the sound. I myself see “copper”.
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The difference between the two Med modes, Germ Med and Silicon Med, in my opinion, is also the “visual colors”. While I see copper in Germanium modes, I see “platinum” or “silver” in Silicon modes. It’s more neutral than the Germ, but still more coloring than the Ohm. Of course the nature of the compression is different too, yet it’s a bit more “source dependant”, so you really have to try it out yourself to see what you like in which mode.
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The Silicon Hard is more “squeezy”, has certain character, but still sounds clean and neutral. It’s very good for pop songs that need to be punchy, but consist mostly in acoustic instruments like piano and acoustic guitars, the non-distorted type. “Urban folk rock” for one was what came to mind when I played with the Silicon Hard mode.
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The Zener Hard is the most “grabby” of all. While it’s also far from neutral as the Germ, it has a different color, which I’d say “brown”. The reason why I use “copper” vs. “brown” is that, in the Zener Hard mode, more highs is rolled off than in the Germ mode. The sound gets thicker.
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(When I first saw the name “Zener Hard”, the question came to mind, “will the Germ Comp in Zener Hard mode sound like the Zener Limiter?” So I did some tests about it. As hard as I tried to get similar results with the two, they were simply different. The Zener Limiter by nature applies subtle mid bump and high end rise to the sound, while the Germ Comp, on the contrary, is more mid-forward, thus more focused but less tranparent. Wade’s reply is that, with the Zener Limiter, the Zener diodes handles both the compression curve and gain reduction, while with the Germ Comp the gain reduction is controlled by an FET transistor. The circuits are completely different.)
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[Or 100 in 1?]
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Another favorite part where I found the Germ Comp truly amazing. The knobs and switches interact with each other.
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For example, when the ratio is changed, the real attack and release time also change with it, with the two knobs not touched at all. On the other hand, when the attack is set to 3, the real attack time still varies subtly when the release is changed from 1 to 5. The variations are subtle, but obvious enough to make you feel the connection between the knobs. Therefore, it’s better to use both hands and tweak the attack and release knobs at the same time.
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This “interacting parameters” nature of the Germ Comp, combining the Clean Comp/Dirty Comp switch, the Sidechain, the Mix knob, and the Germanium Drive/Feedback combination, turns it into more than just six compressors in one, more like 100 in 1 actually. For example, I can turn the same strumming acoustic guitar track into more than 10 different takes, all as if they were from different players and guitars, to fit in different ways of mixing logic. And it’s only with the acoustic guitars. It turns into another compressor when I feed it with, say, a rock piano, and also with many ways to play with.
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[SQUEEEEEEZE!!!]
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One afternoon when I was playing with the Germ Comp, I started to hear some clicking. The harder I compressed, the more frequent the clicking. I checked the levels but there should not be any clilpping at all. I checked everything, and just when I thought that it was a design flaw, I found that the clicking was in fact the needle hitting the edge of the meter….
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When Wade explained to me how to read the meters (there is no number on the meter of the proty type unit), I realized that I was compressing more than 16dB without knowing it! (Yeah I was still in the “abusing the new toy” phase.) Of course it sounded squeezed already, but most compressors would have lost the “tightness” at this point. It’s really hard to explain. You really have to hear it to believe it.
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[Sound Shaping]
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I use compressors to shape sounds more than control the dynamics. It’s really a pleasure to patch in a compressor and hear the sound transforming as you turn the knobs. Also, compressing changes the groove of the sound more than eqing. Thus more fun.
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Since different frequencies move in different speeds, compression is born to change the eq curve of a sound. Yet the Germ Comp changes it more than any other compressors I’ve ever used. It does so much to a point that, sometimes I can really walk away with much less eqing that I would’ve normally done. If you think you know what I’m talking about, wait til you are really using a Germ Comp.
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The trick behind it, in my humble opinions, is that you can find a setting that offers the “just right” compression, which happens to shape the sound the way you want it to be eqed. Sounds like magic? And does work like magic.
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Wade said that when he designed the Germ Comp, he set all the ratio, attack and release parameters by feeding the compressor with pre-recorded materials, and then just adjus from there by ears instead of by math. That reminds me of how Mr. Miroslav Vitous recorded his famous Miroslav Vitous Symphonic Orchestral Sample Library.
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In an interview Mr. Vitous said that he asked the players to play a melody, and then took the single note he wanted out of it. This is the main reason why many users found the MV library more lively and melodic than other string libraries in the market at that time; you can just press one note and then hear feelings coming out of it.
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It’s the same with the Germ Comp. When working with its non-static parameters design, I often found a “just right” setting, as if it were designed for that particular sound. That, I believe, is due to the way Wade set the parameters with pre-recorded materials and tune by ears. Try it and feel it yourself.
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[Conclusion]
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It can’t do optical like an LA2A, and it can’t do the all-button mode of an 1176 or the Brit mode of a Distressor. Yet with most of the advanced features in the market (sidechain, clean/dirty, mix), and six compression curves, plus knobs and switches that interacts subtly with each other, the Germanium Compressor is without a doubt the most versatile FET compressor so far. It can handle most materials you feed it, enhance them as they are, or transform them the way you want. And it sounds great.
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I wrote down after one day of working with the Germanium Compressor, and now I think it’s just the conclusion I’d like to use for this review:
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“Every knob turning is a surprise, like the first time visiting <st1:City><st1:place>Paris</st1:place></st1:City>, being amazed by the different faces of the city when you walked by a different corner. Then by adding all the latest and coolest features to it…there is really nothing it can't do in the pop and rock world.”<o:p></o:p>
Old 25th July 2007
  #2
84K
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my ears are hard.
Old 25th July 2007
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What a great review!!! thumbsup Thanks a lot!

Now we only need some soundfiles heh
Old 25th July 2007
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I've bought a lot of gears this year, and I have been very lucky that I did not buy anything that I regreted. Much of my appreciation goes to the valuable information I found in the Gearslutz forum.

Therefore, when I had the chance to have access to a pair of the Germanium Compressor proto types, I thought I should return the favor by sharing my experience with you guys.

Rock on!

p.s.: I felt very bad that the schedule is too tight for me to make you guys some A/B clips.... I love making A/B clips.... I'll try to squeeze some time out of my work and see what I can do.
Old 25th July 2007 | Show parent
  #5
84K
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Quote:
Originally Posted by aryschien ➑️
p.s.: I felt very bad that the schedule is too tight for me to make you guys some A/B clips.... I love making A/B clips.... I'll try to squeeze some time out of my work and see what I can do.
Don't feel bad Brother, we appreciate the detailed review! Thanks!!!
Old 25th July 2007
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F*ck !!!

....some random internet forum post and now I want a new Compressor















....thx for the nice read! must hear one anyway...
Old 25th July 2007 | Show parent
  #7
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please release this compressor NOW
Old 26th July 2007 | Show parent
  #8
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Quick question to the reviewer...

Do you think it could do a nice buss compressor with 2 germ comps strapped together?
Old 26th July 2007 | Show parent
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Quote:
Originally Posted by 84K ➑️
my ears are hard.


AA.
Old 26th July 2007
  #10
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Quote:
Originally Posted by aryschien ➑️
β€œDirty” is good or bad, but β€œugly” is always bad. You don’t hear manufacturers say β€œour product is able to produce THAT ugly sound!” or β€œYou want ugly? You got ugly!”[/SIZE][/FONT]
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[FONT=Times New Roman][SIZE=3]Ugly sounds are unpleasant to the ears. It should be obvious, since we are born to not like ugly sounds; yet just like the mp3s are ruining the ears of the young generation,........
Sorry, I'd have to disagree with you there, but thanks for the detailed review. One man's dirty is another man's clean. One man's warmth is another man's muddy. One man's crystilline is another man's brittle. And for many, what one man sees as the salvation for audio, another see's as it's satanic downfall........ And yes, one man's "UGLY" is quite possibly the next hottest thing in audio. We've seen that dozens of times.

Have a "NON"-ugly day!
Old 26th July 2007 | Show parent
  #11
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To lpkyer,

Yes I've tried a pair of Germ Comp across the 2bus. For some songs it sounds great, with a touch of the Mix Knob of course. For the others I haven't been able to get the result I want, and I'm not sure if I ever will, to tell the truth.

Yet I believe that, when some other users, more experienced than myself, get the Germ Comp, they'll be better in doing this and share with us their tricks.

To drBill,

I admit this "dirty vs. ugly" is a subjective issue. Can't argue with you there. What I said is just what I heard.

To All,

Good news. The Germ Comp is shipping SOON.
Old 26th July 2007 | Show parent
  #12
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I've consistently been able to get good results on the stereo buss. It's not my first choice for stereo buss use, because there are other places where I need it's specific features more.
Old 26th July 2007 | Show parent
  #13
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Thanks Arys for your review. Its super cool that you took the time to get so into the unit and share it with people! Thanks a bunch!!!

I have to say a lot of your comments are exactly what I had in mind when designing the the comp :-)

While working on our new console I have been experimenting with the GERM Channels as the stereo buss amplifiers and using the GERM Comp section on the mix. I have been doing 2-3db reduction in the GERM Soft or OHM settings. Ive been quite happy with it. Artifact free and not as grabby as the SSL...I think we will have to ship some and people will start sharing their experiences.

Thanks again!
Old 26th July 2007 | Show parent
  #14
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Quote:
Originally Posted by Mike Caffrey ➑️
I've consistently been able to get good results on the stereo buss. It's not my first choice for stereo buss use, because there are other places where I need it's specific features more.

Alright good to know. But I should specify DRUMBUS more than anything else. Have you tried it on drums only?
Old 27th July 2007 | Show parent
  #15
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Yes. That's why I don't use it on the stereo mix.

And, I run it in series with another pair of compressors. If you set it up right, you can have the most perfect artifact free compression no matter how wide the dynamic range of the source - no accidental squashing of your loud chorus becuase of how you set the compression for your verse.
Old 27th July 2007 | Show parent
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You guys definitely watered my mouth like a mad dog in heat (sorry if doesnt make sense...I'm french.)
Old 27th July 2007 | Show parent
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Sorry dude in reading your review i still don't get what the thing is good on.

Actually after reading it i get the impression that its not really outstanding on anything.

Basically you reiterated what we already knew about the thing.

And telling us that its the most versatile FET compressor again doesn't really mean anything since what makes alot of the favorite FET compressors our favorites is that they are limited to what they do well.

Honestly to me too many choices on a compressor makes me turn away since i only really need one great setting and it will probably stay there for life.
Old 27th July 2007 | Show parent
  #18
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It's outstanding at artifact free compression.
Old 27th July 2007 | Show parent
  #19
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Quote:
Originally Posted by Mike Caffrey ➑️
It's outstanding at artifact free compression.
What would you consider the opposite?

Cause i must be daft but i still don't get it.
Old 27th July 2007 | Show parent
  #20
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Quote:
Originally Posted by thethrillfactor ➑️
Sorry dude in reading your review i still don't get what the thing is good on.

Actually after reading it i get the impression that its not really outstanding on anything.

Basically you reiterated what we already knew about the thing.

And telling us that its the most versatile FET compressor again doesn't really mean anything since what makes alot of the favorite FET compressors our favorites is that they are limited to what they do well.

Honestly to me too many choices on a compressor makes me turn away since i only really need one great setting and it will probably stay there for life.
It's still better than your (inexistent) review of the thing...Anyway for someone who's always going on about trying stuff for yourself, what actually are you expecting from a review?
Old 27th July 2007 | Show parent
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As hard as I tried, I'm not a native English speaker, and there are some phrases that I just couldn't come up with, which could've said it all.

Like Mr. Caffrey's "artifact free compressor". It's one of the major reasons why I really want 8 of them.

To me, "compression artifacts" are those unnatural reactions of sound caused by the compressor, which always make the listen "pause" and got kicked out of the emotion flow a bit. Or at all. The versitility of the Germ Comp allows you to reduce those artifacts to minimal or none. That's amazing enough for me, cause no other compressor I've used can deal with that many situations successfully.

You can dial in some dry signal to make it sound natural; you can set the SC to allow a more natural compression and then use an eq to deal with the extra low frequency that is allowed to pass through by the SC; you can find one in the six modes that sound better than the others; you can adjust the attack and release knobs at the same time to find the "right breathing groove" to the music. Last but not the least, you can use the Germanium Drive/Feedback combination to "fix" the eq curve change caused by the compression, if it doesn't sound right to you.

------

This is the first long review I've written, so thanks (to thrill) that you reminded me of what I've left out.

Basically it sounds great. I don't want to name the other compressors I'm talking about here, as it's my nature not to "attack that while saying good things about this", but the Germ Comp really sounds better than those within the same price range.

Then it's got the Germanium sound. No other compressor offers this sound. Plus it's got the Ohm Soft mode for a very neutral sound, and the two Silicon Modes for a "whiter" color than the Germ and Zener Modes.

It adds a lot of THD in the Drity Comp mode, but doesn't sound cheap at all. That's also another great enough factor to my ears, as some other devices that claim to add THD and "color/warm up your tracks" generate a somewhat cheap sound to my ears.

The reason why I didn't mention what the Germ Comp is specifically good at, was that I've been happy with everything I used it with in a pop or rock song. It certainly gives you many controls, more than the others, but once you're getting used to it, the controls are not "too many", but just "many enough" to get a right setting of a sound almost everytime.

I'm not sure if those information I added is good enough to answer your question. If not, please let me know. I'll try my best to express them correctly in English....
Old 27th July 2007 | Show parent
  #22
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Quote:
Originally Posted by baikonour ➑️
It's still better than your (inexistent) review of the thing...Anyway for someone who always going on about trying stuff for yourself, what actually are you expecting from a review?
It wasn't meant as a knock, just as a suggestion.

This isn't Pro Audio Review,Mix, EQ, Sound on Sound or Resolution magazine.

Its Gearslutz where we tell all sides of the equations when it comes to gear.. the good, the bad and the ugly.

What did i want to hear?

I tried it on a kick, a snare, overheads, a bass, a drumbuss, a guitar, a lead vocal, background vocals, the mixbuss and this is what i heard it did to those tracks.

Then i tried it on tracks there weren't recorded so well and this is what i could or couldn't do with it.

I compared it to X for this purpose or Y for the other and this is where it shows it strengths and weaknesses.

Basically i want to get a mental picture why i would want to actually try this thing or basically a cut and dry opinion if its all hype.
Old 27th July 2007 | Show parent
  #23
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4 Reviews written
🎧 15 years
Quote:
Originally Posted by aryschien ➑️
As hard as I tried, I'm not a native English speaker, and there are some phrases that I just couldn't come up with, which could've said it all.

Like Mr. Caffrey's "artifact free compressor". It's one of the major reasons why I really want 8 of them.

To me, "compression artifacts" are those unnatural reactions of sound caused by the compressor, which always make the listen "pause" and got kicked out of the emotion flow a bit. Or at all. The versitility of the Germ Comp allows you to reduce those artifacts to minimal or none. That's amazing enough for me, cause no other compressor I've used can deal with that many situations successfully.

You can dial in some dry signal to make it sound natural; you can set the SC to allow a more natural compression and then use an eq to deal with the extra low frequency that is allowed to pass through by the SC; you can find one in the six modes that sound better than the others; you can adjust the attack and release knobs at the same time to find the "right breathing groove" to the music. Last but not the least, you can use the Germanium Drive/Feedback combination to "fix" the eq curve change caused by the compression, if it doesn't sound right to you.

------

This is the first long review I've written, so thanks (to thrill) that you reminded me of what I've left out.

Basically it sounds great. I don't want to name the other compressors I'm talking about here, as it's my nature not to "attack that while saying good things about this", but the Germ Comp really sounds better than those within the same price range.

Then it's got the Germanium sound. No other compressor offers this sound. Plus it's got the Ohm Soft mode for a very neutral sound, and the two Silicon Modes for a "whiter" color than the Germ and Zener Modes.

It adds a lot of THD in the Drity Comp mode, but doesn't sound cheap at all. That's also another great enough factor to my ears, as some other devices that claim to add THD and "color/warm up your tracks" generate a somewhat cheap sound to my ears.

The reason why I didn't mention what the Germ Comp is specifically good at, was that I've been happy with everything I used it with in a pop or rock song. It certainly gives you many controls, more than the others, but once you're getting used to it, the controls are not "too many", but just "many enough" to get a right setting of a sound almost everytime.

I'm not sure if those information I added is good enough to answer your question. If not, please let me know. I'll try my best to express them correctly in English....

Hi Bro,


You express yourself really well...actually better than alot of us.

I just get skeptical when i read a review where there are no negatives. It makes me think like you don't want to piss off the manufacturers which if true you might as well write for one of the rags.

Maybe its just me but every piece of gear i've ever tried no matter how near perfect all left me wanting something. Sometimes the gear you just don't get it at the first sitting. If this was your impression say it. Or maybe its the opposite you loved it at first but after a while when the inititial feelings died down you realized that you need to proceed with caution with the piece.

Whatever man.

Old 27th July 2007 | Show parent
  #24
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🎧 10 years
Interesting Thanks!
Old 27th July 2007 | Show parent
  #25
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1 Review written
🎧 15 years
Judging from the other Chandler gear, I don't have the slightest doubt that this compressor isn't great, but there is one reason why I decided to pass on (or at least wait with) the purchase:

(....should I really say it? As a Gearslut? I'm SCARED!!!)





o.k, so what: THERE ARE TOO MANY OPTIONS! Yes, I like my outboard simple. The 'Mix' function on the Germ comp looks like a great idea but I really envision myself fiddling for hours while thinking 'o.k, if I reduce the Wet portion to 20% but increase the Germ drive while backing down a bit on the Feedback in 'Dirty mode'........you get the picture.

Call me dumb and this might mot be an issue for super-experienced engineers but it is for me. I use outboard for tracking and not (yet) for mixing and so when recording say drums I want a comp that can be set up in a few seconds (I like the LA-3A and dby160VUs for that) so that I can concentrate on all the other elements (room, drums, drummer, pre, etc).

But maybe it's just a trick I play on myself to prevent going into debt..........
Old 27th July 2007 | Show parent
  #26
Lives for gear
 
Mastering101's Avatar
 
1 Review written
🎧 15 years
Quote:
Originally Posted by thethrillfactor ➑️
Hi Bro,


You express yourself really well...actually better than alot of us.

I just get skeptical when i read a review where there are no negatives. It makes me think like you don't want to piss off the manufacturers which if true you might as well write for one of the rags.

Maybe its just me but every piece of gear i've ever tried no matter how near perfect all left me wanting something. Sometimes the gear you just don't get it at the first sitting. If this was your impression say it. Or maybe its the opposite you loved it at first but after a while when the inititial feelings died down you realized that you need to proceed with caution with the piece.

Whatever man.

Thrill why don't you just buy one or rent one so you can hear it for yourself?
I think the guy did a good job giving us some info on the unit..I'm not going to base my purchase on it...I got a pair to hear myself...why get so critical with a post..I want to use it myself..it would be like if I were to listen to the negative comments you made about summing mixers "you spent a day with" that are all over this site..not going to happen
Old 27th July 2007 | Show parent
  #27
Lives for gear
 
🎧 15 years
Could it be that it's not possible to buy or rent one yet?
Old 27th July 2007 | Show parent
  #28
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by thethrillfactor ➑️
What would you consider the opposite?

Cause i must be daft but i still don't get it.
Compression that you can hear?

And/or "bad compression".


When you have a signal with a wide dynamic range, it's impossible or nearly impossible to set a compressor so that it compresses effectively throughout the entire range, especially the top (unless you set it only for that). The Germanium Compressor can be set so that you won't hear thinning when you're at those loudest moment where you'd hear most comrpessors squeezing too much.

I've read some incorrect descriptions of compression vs limiting, where limiting was described as reducing the loud sections and compression was described as bringing up the quiet sections and not affecting the loud sections.

The G.C. can be set so that it makes the quiet sections louder without limiting the volume of the loud sections.

It can be used as a straight ahead compressor, or with a slight change in through process, it gives you an entirely different way to control dynamics compared to other compressors.

It's going to make a lot of people sound more skilled than they actually are. becuase they're going to find it a lot easier to avaoid butchering their dynamics.
Old 27th July 2007 | Show parent
  #29
Lives for gear
 
Mastering101's Avatar
 
1 Review written
🎧 15 years
Quote:
Originally Posted by Mike Caffrey ➑️
Could it be that it's not possible to buy or rent one yet?

thank you for stating the obvious..when its available next month...ok genius?
Old 27th July 2007 | Show parent
  #30
Lives for gear
 
🎧 15 years
You're welcome Your Holyness!


If I book time in your studio, do I have to pay extra for the phallacious sarcasm, or do you treat everyone that way.


Gearsluts is the new RAP!


At the moment Reamp is the banner ad I'm seeing for this thread. I'll have to be sure to thank them at AES for paying to make posts like yours available. I'm sure it's exactly the type of thing they want to support and be associated with.
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