VCA compressors are generally fast. Almost any other observation about them would depend on which one you’re talking about. Some are fairly transparent while nonetheless adding excitement to sources. Others – I’m thinking primarily of the API 2500 bus compressor [Tape Op #52] and the dbx 160 – are sought after by some for their color. However, notable exceptions aside, VCAs are often deployed to tame transients without radically altering the tone you’ve worked so hard to achieve. I currently use two different, clean VCA compressors for stereo buses: the SSL G Series compressor on my mix bus and the elysia xpressor on my drum bus, so I was thrilled to see how the desktop-style analog Neve 88C would compare. The 88C delighted me, surprising me with the recognition that a single VCA compressor can be as transparent or colorful as you like.
I put the 88C to use in my home studio over the past few weeks, auditioning it in both predictable and less common scenarios. As a stereo compressor on the mix bus, I set the 88C to a ratio of 1.5:1, with a medium release time and an 80 Hz high-pass filter sidechain selected. Then, I set the Threshold to achieve a maximum of 3 dB of reduction and pushed the Bypass switch on and off to adjust the makeup gain. The 88C offers true bypass for comparing dry and processed signals. I’ve learned the hard way that louder signals sound better to my ears, so I dial in the Makeup Gain carefully to ensure the processed signal is no louder than the dry signal. AMS Neve deserves some thanks for putting all of the controls on the front with clear labels and plenty of space between the knobs, each of which is also a pressable pot to control an additional setting. For instance, the Makeup Gain knob turns left to right to add gain to the output, but when pressed in, it also cycles through the three frequencies of the high-pass filter (80, 125, or 300 Hz). This thoughtful addition makes for fewer knobs crowding the front, thereby reducing the likelihood you’ll mistakenly adjust one knob while wrestling with another. The 88C was more colorful and noticeable than my go-to mix bus compressor but in a desirable way. I smiled. It may not be right for a transparent jazz or classical sound, but it adds lovely harmonics to soul, rock, and pop mixes. In the spirit of experimentation, I also tried the 88C on a full mix with the limiter setting, which gave a crunchier and crispier sound than it did at the lower ratio. Texture is your friend.
Nonetheless, I loved the 88C most on the drum bus, where it brought out the body of the cymbals, lengthened the snare and kick, and glued the kit together. When pushed to 10 to 20 dBs of reduction, it was clearly too much (though the 88C offers up to 50 dB compression), but such an aggressive setting would be great for room mics or in a parallel compression setup, mixing an overly compressed sound with the original. On the drum bus, the variable release sounded good, but I preferred the regular attack setting over the fast one. Speed thrills, but it also kills. Dialing things back a bit, I found the 88C less exciting at a 4:1 ratio, but it was still fun and energetic, even at a ratio of 1.5:1. I appreciated the tonal options available between the regular and fast attack settings. Without fast attack and release, compression is less noticeable but is clearly still there! The Neve was helpful on stereo drum overhead mics, too, with about 3 dB of reduction dialed in. Alternately, slapping the 88C on the full drum bus was more like a party.
Although I’d be tempted to keep the 88C on my drum bus until the apocalypse, I also found use for it on other sources. For sustained chords played on a Vox Continental organ, I settled on the limiter with the Threshold set for 1 dB of reduction, a medium release, and the high-pass filter sidechain at 80 Hz. On a distorted Fender P-Bass part, a 2:1 ratio worked well, with the Threshold set for 5 dB of compression, the Release knob at a quarter, and the 125 Hz sidechain filter engaged. Although I typically use an opto compressor to smooth out electric guitar tracks, the 88C set to an 8:1 ratio with the Threshold at 0, a medium release time, and the high-pass filter sidechain at 300 Hz more than did the trick. If I wanted to add some panache to the guitar bus, I wouldn’t hesitate to reach for the 88C. Finally, I tested the 88C on a stereo vocal bus, concluding that a 2:1 ratio with the Threshold set for 3 dB of reduction and the Auto variable release setting engaged worked on a loud mix. For something softer, I’d probably adjust the Release time to taste, but Auto was good enough for rock ‘n’ roll.
While the 88C is based on sections of the Neve 88R console, its desktop profile is way more portable – roughly the height of a two rack space unit and a half-rack in width, wrapped in a retro leatherette casing, with 1/4-inch TRS I/O. If you need a compressor for remote gigs, if you frequently work in different rooms, or if you want to take it on a world tour, you’re in luck. The 88C is USB 3.0+ powered via a USB-C connector – no awkward wall warts here. Part of its flexibility is also derived from its ability to function in dual mono or stereo linked mode. As the kids say, “The Neve 88C slaps.” Throw it on a stereo bus and see what it can do for you. At half the cost per channel as the next most affordable Neve compressor, it’s also a steal.