RNC or RNLA? What would you guys recommend to keep master bus levels under control in a gritty techno live set (example: Techno live gig - AR AH MD MM ao).
Both would work well with the high pass filter on the sidechain input. I think the supernice mode on RNC is worth exploring for more transparency on the master out, particularly in the chain with something like AH.
Personally never really like the sound of more than 2-3db of compression from any compressor (RNC and RNLA are the only hardware comps Ive used though). I only use them with low ratio 1:2 with attack and release set at 9-10 o’clock to preserve drum transients.
Interested to hear how @AdamJay was using RNC with the sidechain loop?
RNC as limiter? I’m far from an expert when it comes to dynamics but I’ve had one for years and find it can’t do what I would expect from a limiter. It only goes up to 1:25 and doesn’t sound ‘good’ with a fast attack.
It can catch material that’s creeping up, and of course is great to use musically or for effects or for it’s nice side chain, but if it was setup ‘transparently’ it would let through a lot of dB from a sudden peak. The super nice mode is especially slow to kick in (but still ‘super nice’!)
Just my experience & would definitely be interested in any suggestions for dialling it in as a limiter though.
I guess I’m saying - it’s a compressor…
Did you ever run a HPF through the side chain send/return?
I found this, and only this, made it sound ‘good’ at fast attack settings with 10:1 or above ratio settings. Well, good “enough”! 
I haven’t. Been meaning to try it ever since reading about that here!
That’s not limiting though is it? It wouldn’t catch sudden low loud sounds?
Or maybe you’re just correcting my ‘fast attack not good’ statement. And I’m sure you’re right - it was always lower end stuff that would sound bad with fast attack…
It is limiting, as long as the attack is set fast and the ratio is 10:1 or higher.
The HPF doesn’t effect the frequency of the input or output signal, it is only used in its interpretation of the frequencies for the “control signal”, meaning it will ignore low frequencies when deciding to limit, but it will limit all frequencies when it does. And those low frequencies are the ones that usually make the attack ultra mushy.
It allows you to limit harder for bass music without unwanted artifacts.
If FMR had any mind to maximize their foot print in the electronic music market, they’d sell/include a small inline 100hz HPF cable widget 
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Have you tried 2 harlow pedals yet?
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Compression-wise, I’m having really good results with squeezeing the compressor in AR MK2 and it sounds great on the beats I’ve made with just the right clicking.
When I get the money I’ll probably go for the Oto Boum.
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I’m curious about the Keeley Limiting Amp pedal (GC-2). Anyone have experience with it?
Edit: mono, so not sure if OP wants to invest in two …
I heard some pro techno guys don’t use a limiter at all when playing live. Every venue with a real sound system has their own limiter. So you might not need a limiter. But of course you’ll have to have your levels under control a bit which can be diffucult if you improvise a lot.
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Of course, a venue PA has limiters, EQs etc. But that 's something else than EQíng and compressing your mix. On the mix it’s to make your material sound good and you have control over it. On the PA it’s to translate any material as good as possible on the given equipment and space (and sometimes it’s actually limiting the possibilities because of complaining neighbors etc). I’ve found that my mix levels were varying too much when I played a gig recently. I’m considering putting a limiter on it so I know I have a ceiling I can push against and not worry too much about it. The PA limiter will provide a ceiling as well but you have no control over (the sound of) it. You don’t know at what level it kicks in and how hard. I prefer to have that control. The PA sound engineer will then take that signal and make the best of it on the PA.
I’m sure this is not required by experienced artists with clean sets. I have neither of that
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Yeah that’s true. It really depends on how preconstructed your set and how even your levels are.
I remember reading somewhere on elektronauts that somebody used the fmr rnla parallel on a seperate channel of the mixer which led to a nice and punchy mix. Though i don’t know how he took care of level spikes on the main channel.
Yes!
Had a bit of a hiccup as the original 2nd pedal I ordered had a blown out input section, so had to return it. Then I was on the fence again about really needing a second, but I decided I want to do more realtime use of them in stereo, with OT and/or DN.
Found another one used, and aside from very worn knobs (Bogner is sending me a replacement set), it matches incredibly well to my first pedal.
It’s been fun keeping them on the OT main output, really beefing up the OT.
Currently have them each on Drumatix Snare and Drumatix Clap/Rim outputs. The separate tonal variation in this configuration has been nice and is helping me finish a few works in progress I had on the Drumatix.
Was worth it, in the end.
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How is the compression? Seems to be geared towards sustaining guitar.
I’ve been looking at adding a pair of Klark Teknik KT-2A to my setup (not portable though) for some transformer flavour. Seems similar?
It is more similar to the KT-2A than most, I think.
But still, the Harlow compression is pretty unique. It does have a bit of an optical compressor vibe to it, but they haven’t really advertised what is going on specifically.
The attack speed is a little slower like an optical compressor, so on its own it is not ideal as a limiter, in the traditional sense.
However, combined with the transformer saturation, it does limit, but in its own unique way. I like the way it takes the peaks and rounds them out harmonically.
The tilt EQ is pre-comp so how you have it set is an important consideration if using the compressor, and the envelope follower on the release stage isn’t half bad.
I generally use the compressor on the Harlow as an added extra to the saturation. It reminds me of the OP-1 and Vulf compressors. So it is as much an effect as it is a dynamic control utility.
For most uses, I only use the compressor at about 1/4 to 1/3rd the available knob range. The harder you hit the input transformer, the less hard you can hit the compressor without it behaving badly, and I generally favor the transformer saturated sound over the traditional compression sound. It depends on what I am feeding it. For just a stem or instrument, I’ll saturate less and compress more. For a drum bus or a whole mix, I’ll saturate more and compress less.
KT-2A has both input and output transformers, so combined with a pad/attenuator on either stage or both, you could get a few different saturation flavors, along with a more controllable compressor (than the Harlow’s) in the middle.
The next time I have it set up on the Octatrack main outputs, I’ll do a video.
I did not get it with running so much through it in mind.
Initially I thought it would just be a solid snare bender for my Drumatix. Saturation, comp, and eq are all things the Drumatix snare benefits from. It’s a great snare tone bender, but to my surprise it can do so much more.
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If anyone wants to hear the flavor of saturation of a Deco vs a Harlow…
I have a Deco on loan from a friend.
Made sure the secondary functions were totally flat/full bandwidth.
1st. : Acidlab Drumatix --> Deco --> Octatrack --> Ultralite MK4
2nd : Acidlab Drumatix --> Harlow --> Octatrack --> Ultralite MK4
Yea, some OT FX in there (dj eq, comp, dark reverb) because that’s how I have things wired at the moment, preparing for a live gig with Drumatix+Harlow+Octratrack (a combo I am very happy with, btw)
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So I have learned that the Oto Boum is not for me because of various issues with it and I believe I need clean and transparent compression/limiting. (Described in the New OTO machines FX thread)
I think I’ll return it and now I’m considering getting the FMA Audio RNC since many people here have recommended it for transparent compression. Some user review said it does avoid the pumping artifacts and that is important since I’ll be using it on the master after Octatrack. I guess I will have to order it and try it as well since it only really shows if it’s right when you try it hands on, but any comments on this or other suggestions are welcome.
I do like quite extreme compression at times so I hope the RNC will do that. Must I use it with HP sidechain to do this or is it easily accomplished with the Really Nice mode?
I’m still considering as well, and wondering about the differences between the RNC and RNLA for main bus compression/limiting.
I found this comparison here but one has to wonder what’s really being tested. We don’t get to hear the dry signal and it compares the 2 at the same settings. But that’s not how we would use them. We’d dial each in for best results: https://www.youtube.com/watch?v=6gnTP9A3EM0
Anyone know of better comparisons?
Here some more discussion: FMR RNC or RNLA on master
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If for live use one should probably keep in mind that the venue will probably have its own limiter. If it doesn’t, it’s probably a place where accurate compression/limiting doesn’t need to be a priority.
Fwiw I have an RNC and love.it. It does such a good job for the price. I a as under the impression that while the RNC can do limiting as well, the RNLA colors the signal nicely.
Without transparent mode the RNC colors the signal too, but I suspect the RNLA does a better job. I myself chose the RNC in order to always have transparent compression as opposed to colored limiting
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That’s a different use of limiting. The venue PA will have one to maximize and/or protect the equipment. I want to use it to keep my mix levels in check and avoid large fluctuations. I’m already adding a lot of distortion with my AH en AR, so perhaps the more transparent option is wiser for me.
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