I have an opportunity to purchase two Ashly SC-50 Compressors. One has Blue script the other has White script but they are both SC-50's and seem to be in good condition. Are they a good decent compressor? I already own a FMC RNC (& RNP) and I am going to purchase another RNC but would like to add some equipment with character. Anyways any information would help.

Check an old thread here for a bit more detail: http://mojopie.ipbhost.com/index.php?showtopic=847&hl=SC-50

They're a good compressor but they kind of do one thing - sound warm and glue a track together. They were a fantastic deal when you could get them for $50 a pop. When they're running over $200, I'm not so sure.

I think there are a couple of older Rane comps that are of a similar sort to Ashley's but maybe not as forum-hyped, so you might be able to get a better line on them. CL-50 and 501 maybe? Not as snappy as the RNC, but that's kind of the point. The FMR RNLA might be another piece to look at - a more colorful, opto-sounding compressor for a different character.

For really clean dynamics, look at used Aphex Gear - Compellor, Expressor, and Dominator are great pieces, and can go for less than 20% of the new price on the used market.

For F-it-up compression, a fave of mine is the built-in compression in the Fostex MN-series mini-mixers. Non-intended usage, but I patch it in on inserts for drum machine and smash the bejesus out of it. Sounds bright and thick at the same time. Should be able to get one of the MN mixers for under $50 for sure, and probably $25 or less if you are patient.

Bear

Thanks for your input.

We have a pair of SC50s, a stereo CL52, and a hodgepodge of other goodies...the SC50s are really great sounding, but as Bear mentioned, kind of one trick ponies...

They can be a bit fussy, too...but dialed in right, they really have a distinct character...although in all fairness, that character is VERY close to the CL52....

In short...I have both, use both interchangebly, and will buy more once the current craze drops and prices start being reasonable again.

Thanks Guys

I currently have an Ashly CL52E and a CLX52. The CLX model is the latest version, which comes with an
adjustable threshold control, instead of the fixed threshold used on the older models. I think these are
fantastic compressors to use on electric guitar and bass. They fatten up the sound, even out the levels, and
add a nice touch of sustain. I keep the CL52E in my stereo rackmount guitar rig, and use the CLX in my
recording rack. On the downside, when used on vocals or other instruments that have more high frequency
content, I've found them to sound a little dull once I get past 3 or 4 dB of gain reduction. I haven't tried any
of the older model Ashly compressors, so I don't know how they compare. I bought both of these units on
eBay. $125 for the CL52E, and $225 for the CLX52. That seems to be the standard going price.

I picked up a couple of other cheap used compressors recently on eBay, one was an older Yamaha unit,
that I haven't messed with too much yet. When I first bought it, I tried it in the effects loop of my bass amp.
It was sounding pretty cool until I hit some really low notes on the bottom E string. The compressor couldn't
handle the low notes, and went into a wierd modulation mode. I haven't messed with it since. One day when
I get really bored, I'll try it out on a couple of other things. I only paid $60 for this thing just to see what it was
like, so it's no big deal to me.

On a more positive note, I also picked up a used Carvin CG200 optical compressor for $100. It actually
turned out to be a very good clean sounding unit, that can provide a considerable amount of compression,
without sounding muddy or dull. I like using it on vocals and my acoustic guitar. This is strictly a hard knee
compressor, so if it's not dialed in exactly right, it can clamp down or let go of the compression level in a very
abrupt manner. Innitially, it seemed very touchy to get dialed in. After using it for a while, I found I had to
make mental notes of where I liked the attack and release settings for different instruments. Once I had
this down, I could get it setup easily. I'm liking this unit so far.

I've owned an Ashly SC-50 "blueface" compressor for over 15 years and it's the only compressor I've ever used on my vocals and bass. I generally avoid compression, but bass and vocals must be compressed.

It has rugged construction, looks good, and performs very well. One expert on the dreadful Gearslutz site complained it is "dirty". I disagree, but what do I know? Here are Ashly's official specs:

SC-50
Circa 1984
Peak Limiter Compressor
Input Z: 10K ohm balanced (1/4" TRS)
Output Z: 50 ohm term., with 600 ohm or more
(unbalanced) (1/4" TS)
Gain: +/-30dB
Ratio: 2:1 - minus infinity
Attack Time: 200uS - 20ms
Max Input Level: +20dBm
Max Output Level: +20dBm
Freq. Resp: +/- 0.5dB 20Hz -- 20KHz
THD: <0.05%, 0dBV, 20Hz -- 20KHz, no limiting;
<0.2% +18dBV worst case
Hum & Noise: -90dBV, unity gain
Power Consumption: 5W
Shipping Weight: 8 lbs.

Although I'm a tenor, I typically sing in a gruff Howlin' Wolf/ Rev. Gary Davis/ Captain Beefheart/ Dr. John type of voice. Probably I'm most similar to "Blind" Willie Johnson, also a tenor who mostly sang with a gravelly "false" bass voice. "False"? It was his voice, simply part of his vocal range. A "dirty" compressor would only improve my "Wolf" vocals, but I believe the SC-50 is quiet and transparent. I've never noticed any pumping and breathing, certainly not in a mix, but I don't compress very much.

I have about 8 other compressors (DBX, Alesis, RSP, Bellari, etc.) and use them only for signals entering my many effect/reverb units. They do a great job for this, but I would never use them for my bass and vocals. Some compressors have so much "character" that they're really effects and are often used as such. Compression is one of the things that makes a recording sound professional. The amount of compression most radio stations use is ridiculous.