#Classic Opto-Compressor | Explore Tumblr Posts and Blogs

trusthz · 2 years

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But some producers, like Chris Lord-Alge, swear by them for the “the sound.”Īnother thing to watch out for is that these units add saturation which changes the “weight” of the sound with wee bits of distortion overtones (and some undertones too). Merciless attack times, the ability to really crunch those pop vocals. Some like the CLA-76 for vocals for that very same reason. Great for drums as you can really flatten them to add thickness, edge and size.Īnd for vocals? Depends on who you are. Sounds dull, I know, but in-practice they can be great.ĬLA-76 has a pretty fast Attack, meaning there isn’t too much time between a loud transient arriving and the compression goblins leaping into action. Input, Output, speed the Ratio Curve operates, and then a section of Ratio pre-sets. People still pay big coin for hardware versions of these things for “modern” recordings.įeature wise, these units don’t have a lot on offer. The CLA-76 comes in two guises (blue & black) and both are emulations of versions of a classic 60’s Compressor/Limiter. Nowadays if you catch them on sale they are cheap as chips. Their plugins used to be really expensive. Waves have been around for a very long time and for much of it as the top name in the game. It is part of your “sound.” Demonstration If this is the path for you then close your doors to the world and make this the only device you use for everything. That said, it’s good to give up some control, especially if you know there were some experts at the wheel behind this thing, and the results are often solid. The only downside to nitpick at is that if you’re a control freak you can also find it frustrating, since you can’t so much “control” this unit but rather “guide” it like an air traffic controller guiding a Boeing 747 onto land. This is character processing at its best, and if the unit sounds good then you can’t beat it. You tend to start out wiggling the vaguely labelled knobs and suddenly something great appears in the murk. Over time you can get a sense of what is going on. Changing one knob is like changing five knobs on a “clean” compressor. Add 2db of Gain and suddenly your sound is different. It is all about the secret DSP sauce of how nothing is really linear. The optical method is prone to being softer and gentler to vocals, while still being able to lay down the law when necessary. A high-ticket opto unit that many love for its “musicality,” but may be out of some user’s budget.įeature wise it’s a lot like the popular CLA 2A from Waves that we mention below, but the source unit has a unique behavior that made them a top choice. Softube is a great name in the industry and this otpo-style compressor has many, many fans.

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Music Production Nerds is supported by readers like you! If you buy something through our affiliate links, we may earn a small commission at no expense to you.Īs each compressor plugin software is different, and there are myriads out there to choose from, we’ll keep it simple, and take a look at 5 of best best choices out there…Īll of which were researched and recommended by the best.ĮQ Plugins for Vocals, Top Waves Audio Plugins, Tape Emulation Plugins, Vocal Microphonesīest Compressor VST for Vocals Softube Tube-Tech CL-1B Price & Demos Plugin Boutique Quick answer: Softube Tube-Tech CL 1B is the favorite, but if you’re looking for something less costly, take a look at the FabFilter Pro-C2 as perhaps the most popular option out there. Let’s get your vocals under control with the best compressor VST for vocals.

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demedium767 · 2 years

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evergreenrecords-blog · 5 years

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Fabfilter Pro C-2 (Plugin Review)

As is the case with most beginners, when I first started out recording and mixing, compression was an absolute mystery to me. In theory, I knew what compression was supposed to do, but all of the controls and parameters seemed arbitrary. I was fumbling around in the dark, and at the end of the day, I was applying compression in ways that made no sense. If you’ve been a victim of this feeling, don’t give up! Fabfilter might be just what you need!

The Fabfilter Pro C-2 is hands-down the best compressor I’ve ever used. I use it on at least 90% of my tracks. Its highly intuitive user interface and ability to match the sound of both vintage and modern compression techniques make for a ridiculously powerful plugin. Trying to describe the way this plugin sounds would take way too much time simply because of how flexible it is, so instead, I’ll just run through each feature and explain what it does and how the display shows what is actually happening to your signal.

Threshold - Starting at the left side, we have the threshold knob. The threshold line is illustrated by the curved white line coming from the bottom left. Most compressors have a threshold feature, but what makes this one unique is the little headphone button to the top left of the knob which solos only the sound passing the threshold so you can hear exactly how much of the signal you’re compressing.

Ratio - This basically tells the compressor how hard to compress something once it passes the threshold. As you increase the ratio, the threshold curve gets stronger.

Style - Pro C-2 offers 8 different styles of compression to choose from. “Clean” mode is... well clean. It’s very transparent and allows for surgical compression rather than coloring the sound. “Classic” offers a more vintage vibe. “Opto” utilizes soft knee settings, which is great for vocals. “Bus” is great for submixes such as your drum bus to glue it all together. “Punch” offers high transient priority by using slow attack times. Other modes include “Mastering”, ”Vocal”, and ”Pumping.”

Standard Attack/Release settings

Wet/Dry Gain - Allows you to blend the uncompressed signal with the compressed signal. This is also known as “parallel compression.”

Knee - Determines how abrupt the compression curve is. As you increase this setting, the curve becomes a sharp angle.

Lookahead - A feature that can only be implemented in digital compressors. It allows the compressor to literally look further ahead in the track and prepare itself for any extreme volume spikes.

Hold - Tells the compressor to hold the gain reduction for x amount of milliseconds.

Sidechain - The sidechain area of this plugin is accessed through a drop-down menu at the bottom of the display. Simply pick which channel you’d like to sidechain it to from the sidechain menu and adjust to taste. This feature is especially helpful, for instance, if you want the bass guitar to duck down just a little when the kick drum hits to help the kick cut through the mix a bit more.

Presets - This plugin comes loaded with around 100 presets for different instruments/applications. They might not be exactly what you’re looking for but they’ll definitely get you in the ballpark.

Pro C-2 has plenty of other advanced settings/features that I personally don’t feel qualified to talk about. But those features aside, this is easily one of the best software compressors on the market. Not only that, but as a beginner, it will teach you what compression does by literally showing you on an easy-to-interpret graph. This alone is invaluable and a huge time saver.

At $179, I think the Pro C-2 is a stellar deal. That may seem like a lot for one plugin, but I’d go as far to say you may never need to buy another compressor plugin aside from this one. It’s just THAT versatile.

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hunterframe866 · 3 years

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The release characteristics of all three depend to some extent on the program, and the control of the release time can be switched to a mode that is entirely dependent on the program in which it is simply executed. First, three different types of compression are available: Clean is relatively transparent, Classic is more aggressive and Opto is warmer. Club dj provj 7 keygen iso. When you charge the Pro-C compressor for the first time, you may think, “Well, it looks good, but it’s just a standard compressor, right?” It takes a few minutes to determine that this is not the case.

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If you click in the middle of the control, you can use it in a slightly less deadly “vertical” mode. However, I would like to see a way to reduce the gain range to protect the speakers. Seriously, the gain range of the two controls is huge and it is too easy to accidentally drag a mouse to the maximum setting of + 36 dB (!). Dry mixing is independent of the main gain control.

So if you add the dry mix again, the output will be louder, making it difficult to make the sound meaningful for A / B with and without dry input. Fabfilter states that they are aware of this problem, so it may change in a future release. In addition to controlling the output gain, there is also a dry mixer dial that allows you to re-introduce some of the dry signal for parallel compression, and one of my few reviews of the keyless interface. The license for fabfilter pro q 3 focuses on these two gain controls .

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32-bit: Windows 10, 8, 7, Vista or XP 64-bit: Windows 10, 8, 7 or Vista AU or VST 2/3 host or Pro Tools Intel processor VST 2/3 host or Pro Tools OS X 10.8 or higher

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All three offer the best sound quality and are combined into carefully designed interfaces to make the most of it. They work well in conjunction with other plug-ins, and especially with each other, and I can imagine that I will use them frequently in the future. With so many plug-in mastering processors, there is a temptation to keep looking for the latest “miracle cure” if we can get better results using the full range of standard tools. The great thing about Fabfilter Crack mastering plug-ins is that they make it easy. If you haven’t decided on a number of mastering plugins yet, or if you’re not entirely satisfied with the existing plugins, download and try the demo.

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definitionmusic · 3 years

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ILL COMMUNICATION: “ Compressor Families and their Digital Counterparts” - BY ILL POETIC

It took me a long time to wrap my head around what I should be hearing a compressor do. Even now, I’m still learning, both intellectually and aurally, how to hear compression as well as how to more effectively utilize it. This piece below offers a brief summary into my understanding of analog compressors and their digital counterparts with additional resources available for further learning.

Four years ago I officially made the plunge back into the world of higher education. I’d been majoring in Digital Music Technology, which covered everything from sound-designing synths to recording and mixing in a large-scale studio setting. I’ve been inside a lot of larger studios but never had a full grasp on what all the hardware was really doing. Finally, I’d been given that opportunity.

During a summer break, I came across a podcast that sent me into a small wormhole on compressors. This podcast led me to an additional article (info below) that gave me a deeper insight on how to ultimately view analog compressors as well as how to translate that understanding into digital compressor emulators (plug-ins).

Sine Language Podcast

Before I dive into the specifics of compressors, I’d like to highlight the podcast that brought me here. The Sine Language Podcast dives deep into numerous aspects of audio engineering. From gain staging and EQs to recording wind ensembles, stereo miking and compressors, this is a great podcast to ride around listening to (it’s only available on iTunes as of now).

Compressor Functions

Before receiving a more formal education in audio engineering, I’d always struggled to grasp the true process of compression and how to truly use it effectively. I’d like to give a brief summary as to the basic functions you will see in most compressors, as it will give more meaning to the upcoming analysis of compressor families and their digital counterparts. By no means am I an expert at this. If you’re a novice to compressors as well, this may be to your benefit, as I’m not that much further beyond your scope of knowledge and in many ways may be less so.

I’ve heard compression explained a million different ways, which would always just confuse me more. Not to mention, every compressor seems to look different. It initially feels very overwhelming. And though some compressors may offer different layouts (all of which serve important purposes), understanding basic functions will make these different layouts far less intimidating.

Above is a picture of 5 compressors (all from the Waves Plug-in collection). Each looks radically different but perform the same function: reducing the dynamics of an audio recording. Here’s why: if a vocalist started singing in a whisper and ended scream-singing into the mic, you as the listener would have to turn the music down to save your hearing. Compression boosts that whisper up and squashes that scream-singing down to a much slimmer dynamic range. You as the listener still hear the whisper and the scream-singing and recognize the shift in dynamics but you don’t have to physically turn the volume up and down each time the singer shifts intensity.

So let’s single out one of these compressors and offer a quick definition as to what’s doing that:

Above is an image of the RCompressor from Waves-Plugins and here’s a quick rundown on what’s happening:

Gain - Think of gain as your final volume control. Once you’ve made all your adjustments in ratio, threshold, etc., you will boost or lower your gain to finalize your final level for audio output. Again, I’d think of this primarily as a final volume control, accompanied by a meter that will let you know when you are peaking.

Threshold - Think of threshold as the ceiling for your audio. If a singer is belting out a loud note, lowering that threshold will lower the ceiling on just how loud that note will sound. For example, if you lower a threshold to -5db, you’re telling the compressor that every part of an audio clip that exceeds this level will be squashed down to -5db. Nothing can move past that ceiling. I recommend applying this to an audio file you know well and bringing the threshold as far down as you can to get an exaggerated understanding of what’s happening. Before you do though, you’ll want to understand ratio.

Ratio - Ratio accompanies threshold. Ratio will often be shown as 2:1 or 6:1 or 24:1, etc., though in the example above you can pull the ratio down to any exact number you’d like. Ratio says that for every 2 (or 6 or 24, etc) decibels that you lower the threshold, only 1 decibel will be allowed out. So if you choose a ratio of 6:1 for a vocalist singing a loud run, the compressor will squash 6 decibels of vocal dynamics into 1 decibel. If you were to choose 24:1, you’d be squashing nearly the entire dynamic range of the vocalist into 1 single decibel. I recommend trying this just to get an idea of what’s actually happening.

Attack - Once the compressor detects a sudden rise in audio, you can determine just how quickly it will react (or attack) to that shift in dynamics. For instance, you may want an extremely fast attack if you’re compressing drums since they are primarily sharp transients (the sudden impact of a kick or snare hit). If you set the attack to slow, you’ll miss the initial impact of the kick or snare that you may be trying to compress. Conversely, you may want a slower attack for vocalists and softer instruments to keep a smooth flow of sound.

Release - If the attack focuses on how the compressor starts to compress, the release focuses on how it lets go of what it’s compressing. A longer release means the compressor won’t just stop suddenly once a piece of audio (vocalist, drums, etc) falls back below the threshold, rather it will smoothly release until it’s activated again.

There are plenty of other functions in compressors but I feel these are the 5 base functions to get a true understanding and application of before moving on.

Compressor Families

The Sine Language Podcast has a great 2-part spread on compression. Both are definitely worth listening to, but it was their episode titled “Compressor Design Topologies” that really stuck with me. In this episode, they interview Christopher Dion of Quantum Music Mastering who breaks down his process for grouping compressors into families. Understanding what’s happening inside of each family of compressor really helped me begin choosing which compressors to use for which instruments or vocals and how they were truly functioning behind the knobs. Compressors can be broken down into four families: VCA, Opto, Variable Mu (Veri-Mu) and FET.

VCA

VCA stands for “Voltage Controlled Amplifier” and they are the most common compressors used as they are electrically stable and relatively cheap to replicate. Most plug-ins are based on VCA compressors. Two key features of a VCA compressor include:

Transparency - There is no limit to attack time in a VCA compressor which means you can compress the quickest dynamic shift (such as transients from a kick or snare drum) instantly. This can work fantastic when it’s your sole purpose for compressing, but can feel sterile and lack character for other compression needs, such as long-term

PEAK hard knee - VCA Compressors attend to the PEAK of an audio as opposed to RMS (root mean square). This means they hone in on the highest peak of audio file’s amplitude (say, an abnormally loud snare drum in an audio take) rather than RMS, which takes a more averaged out level of the entire audio clip. Hard knee refers the response curve. Hard knee would be linear, therefore more abrasive in it’s compression vs. soft-knee which has slight curve and softness to the compression.

When to use: For transients notably out of the dynamic range of the rest of the song.

When not to use: Attempt to adjust the overall volume and compression of a song or audio file.

Advantages: Gives a punch and aggressiveness

Disadvantages: Sounds thin and sterile.

Physical Examples: SSL, Neve and API mix bus compressors, Focusrite RED, DBX 160, Alan Smart C1.

Digital (Plug-In) Equivalents:

SSL 4000 Bus Compressor- SSL Duende Native SSL Bus Compressor, Waves SSL 4000 SSL G-Master Buss Compressor, Native Instruments Solid Bus Comp, T-RackS CS Bus Compressor, FXpansion "DCAM Dynamics" BusComp, URS 1980, Sonalksis SV-315, Cytomic The Glue (SSL XLogic G-Series), Stillwell Audio Bombardier

SSL 4000 E/G Channel Compressor: Waves SSL 4000 SSL E/G Channel, SSL Duende Native SSL Channel, T-RackS CS British/White Channel, Eareckon ANALOG87 series, Native Instruments Solid Dynamics, OverTone DSP DYN4000

Neve 2254 - Waves V-Comp, Lindell Audio (Plugin Alliance) Lindell 254E, URS 1970 Classic Console Compressor, Nomad Factory MCL-2269, McDSP CompressorBank

Neve 33609: IK Multimedia T-RackS CS Precision Comp/Limiter, McDSP 6030 Ultimate Compressor

Neve 8014 console (-esque): Sonimus Britson, Slate Digital “Virtual Buss Compressors” FG-8014 (see also Focusrite RED)

Neve VXS Console Comp: Brainworx bx_console

Rupert Neve Design Portico 5043 Compressor: Steinberg Rupert Neve Design Portico Compressor

Rupert Neve Design Portico 5015 Compressor (-esque): Slate Digital “Virtual Buss Compressors” FG-4014

API 2500: Waves API 2500

API 525: LSR audio VLB525, URS CCS Pro 1967

Focusrite Red - Focusrite Red Plug-In Suite, Slate Digital “Virtual Buss Compressors” FG-8014 (see also Neve 8014 console)

DBX160 - Native Instruments VC160, Waves dbx-160, Sknote C165a, Yamaha Vintage Channel Strip "Compressor 260", URS 1975, URS VCA60 (CCS Pro), Slate Digital Virtual Mix Rack, Stillwell Audio Major Tom, McDSP 6030 Ultimate Compressor, McDSP CompressorBank

Opto

In explaining what an Opto compressor does, I’m going to pull a quote directly from the Quantum Music Mastering article that gives a thorough explanation:

“Opto (compressor) uses photocells as a detector and a light bulb to determine the gain reduction. As the signal passes through the light bulb, it will make the light bulb glow more or less depending on the intensity of the signal. Since the intensity of the light is function of the temperature of the filament, the light intensity will vary as a smoother version of the signal. In other words, if the detector in the VCA design sees the exact signal, the opto one will see an averaged over time version of it.This makes the opto compression much less sensitive to transients, peaks and sudden spikes. For this reason, much higher ratios can be used.”

If a VCA focuses on PEAK compression (the loudest moments in an audio clip), Opto focuses on RMS, the overall amplitude of an audio file. The Opto moves slower than a VCA which makes it less ideal for transients (percussion) but more ideal for an overall smooth compression with noticeable character. Because of this, there’s not real need for an attack or release time.

When to use: Opto will even out the overall dynamics of a song. If a song has peaks and valleys, Opto does a good job of leveling them out as much as you’d like. It’s fantastic for tightening a final mix without destroying the integrity and punch of the transients.

When not to use: Again, not to be used with sudden transients, of which it will pass right over.

Advantages: extremely transparent. Tightens up a mix without flattening transients.

Disadvantages: Not built for fast transients. Also, due to to how frequencies of bass vs higher end frequencies work, opto’s traditionally do not work well with low-end frequency content. This causes a pumping effect in low-end frequencies, which can be solved by side-chaining a high pass filter to the compressor (around the 150-250hz range). This side-chain filter can actually be fantastic in a mastering chain.

Physical Examples: LA-3A, JLM Mac Opto Comp, LA-2A, TubeTech CL1B.

Digital (Plug-In) Equivalents:

LA-2A/3A - Waves CLA-2A/3A, IK Multimedia T-RackS CS White 2A, URS Opto2a/3a (CCS Pro), Cakewalk CA-2A, Native Instruments VC2A, Black Rooster Audio VLA-3, Bomb Factory BF2A/3A, U-he Presswerk, PSP Audioware oldTimer, PSP Audioware MixPressor2, McDSP 6030 Ultimate Compressor, McDSP CompressorBank, Antress Modern The Lost Angel

TubeTech CL1B - Softube Tube-Tech CL-1B, URS Tube T (CCS Pro)

Variable Mu (Tube Compressor) (aka Vari Mu)

One of the earliest compressor designs, the Vari Mu is still very popular for high-end audio, specifically in the field of mastering. What makes the Vari Mu special is in it’s relationship between gain and ratio. Vari Mu compressors increase the ratio as the gain reduces. At a technical level this results in a non-linear transfer curve. What this creates for our ears is a smooth compression in which the louder transients are automatically compressed at a higher ratio.

The Vari Mu also does not respond as reflexively as the VCA or FET compressor. Because it’s a tube compressor, it takes more time which means it will never overreact to a transient. This is why it’s often used at the mastering stage, as it really helps glue a mix together. Below is an example of the inner-workings of a Vari Mu compressor, if you want to get deeper into the mechanics of how these compressors and side-chain filters work, I recommend reading this article on compressor topologies:

When to use: When you’ve leveled the dynamics of a song, running the song through this tube compressor will tighten it up and smooth it out. It will glue the elements of the song together.

When not to use: For punch, aggressiveness or solving compression issues within the mix.

Advantages: Warmth, richness, texture and definition that cannot be replicated by plug-ins.

Disadvantages: Not punchy, operating with no side chain filter can be an issue for bass.

Physical Examples: Fairchild 670, Altec 436C, Manley Variable Mu, HLC Varis

Digital (Plug-In) Equivalents:

Fairchild 660/670 - IK Multimedia T-RackS CS Vintage Compressor Model 670, Slate Digital “Virtual Buss Compressors” FG-MU, Waves JJP PuigChild 660/670, Overtone FC70, U-he Presswerk, Nomad Factory LM-662, Nomad Factory FA770, Bomb Factory Fairchild 660/670, McDSP 6030 Ultimate Compressor, McDSP CompressorBank, URS Child (CCS Pro), Antress Modern The Fire Chainer

Manley Variable Mu - Native Instruments Vari Comp, McDSP 6030 Ultimate Compressor

FET (Field Effect Transistor)

A FET Compressor combines the best of the compressors listed above. It provides the smoothness and warmth of Vari Mu and Opto Compressors with the quick attack time and punchiness of the VCA compressor. This is an extremely popular compressor, primarily the 1176 and is noted for its versatility on every type of track: percussion, instruments and vocals.

When to use: for bite, aggressiveness and punchiness on drums, bass, or vocals. Great for warm and rich distortion as well. Also great for use in a mix bus or mastering chain with the compression turned off, just to add color and warmth to the final track.

When not to use: On a master or mix bus with the compressor on

Advantages: adds a punch that cannot be replicated by plug-ins, as with the Vari Mu.

Disadvantages: Most don’t have options for side-chain filtering.

Physical Examples: 1176

Digital (Plug-In) Equivalents:

Urei 1176LN - Softube FET Compressor, Waves CLA-76, Bomb Factory BF76, IK Multimedia T-RackS CS Black 76, Native Instruments VC76, U-he Presswerk, FXpansion "DCAM Dynamics" ChanComp, Slate Digital Virtual Mix Rack, Lindell Audio 7X-500, McDSP 6030 Ultimate Compressor, McDSP CompressorBank, URS Fet (CCS Pro), Yamaha Vintage Channel Strip "Compressor 276", Stillwell Audio The Rocket, Antress Modern The Seventh Sign

Final Notes

A couple final thoughts to include with the information above:

I’d recommend keeping this link of digital plug-in emulators in your bookmarks. Though I pulled some compressors off of here to group them in their proper families, there are a TON of other digital emulators on this link that can help with EQs, reverbs, synthesizers and much more.

None of these compressors are stand-alone. I’m currently getting deeper into applying various compressors to certain tracks in a mix at incremental levels to help shape the specifics of that sound. I have a long way to go still, but the more I understand these compressor families and apply the knowledge, the more I see compressors as just another set of paint brushes to color and shape sound with.

For more information on me, you can visit my portfolio at www.soundrzn.com

Sources: Sine Language Podcast, Christopher Dion of Quantum Music Mastering, Joe Kucera - San Diego City College

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thetapelessworld · 3 years

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Empirical Labs releases Rev 3 of AROUSOR™ as ultimate evolution of flagship compressor plug-in with more Distressor-based tones

Empirical Labs Inc. (ELI) is proud to announce availability of AROUSOR™ Rev 3 — the ultimate evolution of its flagship compressor plug-in, introducing more tones based on its Distressor hardware counterpart, itself one of the best-selling high-end compressors of all time as the product that started it all for the professional audio signal processing equipment designer and manufacturer/plug-ins producer, with the addition of two Opto (A and B) compression modes, as well as two additional (6:5:1 and 7:1) ratios for even more dynamic possibilities, available for free to existing owners of AROUSOR™ as the update they have been waiting for — as of March 30… Being borne out of ELI founder Dave Derr’s love of classic compressors like the 1176, LA-2A, and Gain Brain (amongst others), the Distressor incorporates his favourite sonic characteristics of outstanding outboard originally released way back when with other unique and interesting features that have made it a staple for audio engineers all over the world as one of the best-selling high-end compressors of all-time. It is inevitable that such a popular product would one day receive the plug-in treatment, taking the soul of the company’s professional audio signal processing equipment hardware and applying it to the wonderful world of ITB (in the box) workflow within a DAW (Digital Audio Workstation), albeit AROUSOR™ is the only native Distressor plug-in produced by ELI itself. As a new and improved (EL8-X) version of the Distressor increased its tonality with the addition of new features, so AROUSOR™ Rev 3 — the ultimate evolution of ELI’s flagship compressor plug-in — introduces more tones based on its Distressor hardware counterpart. Kicking off with two Opto (A and B) compression modes based on the time constants of a classic and a modern LA-2A compressor that many existing owners of AROUSOR™ have been waiting for — it is, after all, a much-loved Distressor feature, noteworthy new additions to AROUSOR™ Rev 3 also include a SOFT CLIPPING expert (e) panel — allows for introducing more second harmonic distortion and an ability to place the compressor input before or after the soft clipping circuit; a Listen mode — to hear what frequencies are affecting the DETECTOR SIDECHAIN EQ’s compression detector; additional 6:5:1 and 7:1 ratios (accessible by enabling ALT mode in the RATIO section) — for even more dynamic possibilities; and an enlargeable GUI (Graphical User Interface) — to double its original size for more comfortable onscreen editing. ELI’s classic knee compression with proprietary high-resolution detector modelling remains at the heart of everything AROUSOR™ Rev 3 does so well, with 12 unique compression ratios, including the famous brick wall — RIVET mode in AROUSOR™-speak — for maximum gain reduction. Remaining features well worth highlighting here are an adjustable broadband SOFT CLIPPING control — for introducing warm saturation; a unique AtMod ATTACK MODIFICATION control — to change the shape of the initial attack; an advanced high-pass/band-pass DETECTOR SIDECHAIN EQ — for fine-tuning compression detector response; and Mix knob with (e panel-enabled) Dry Level Trim — for parallel compression. As the update existing owners have been waiting for, AROUSOR™ Rev 3 has brought the legendary tone of ELI’s analogue hardware into the digital realm with even more possibilities as an ITB game-changer... just ask Jacquire King, whose work with the likes of James Bay, Kings of Leon, and Shania Twain has received 30-plus GRAMMY® Award nominations to date!

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AROUSOR™ Rev 3 is available for purchase as an AAX-, AU-, VST2-, and VST3-supporting 64-bit effect plug-in for macOS (10.7 or higher) and AAX-, VST2-, and VST3-supporting 64-bit effect plug-in for Windows (7 or higher) for a time-limited introductory promo price of $129.00 USD for the first 10 days — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of $199.00 USD — directly from ELI here: https://www.empiricallabs.com/product/arousor/ A fully-functional, 15-day trial of AROUSOR™ Rev 3 is available to download from here: http://www.empiricallabs.com/downloads/ An iLok account is required for activating both the demo and full versions of AROUSOR™ Rev 3 via iLok Cloud or using an iLok 2 or iLok 3 USB dongle. (Please note that ELI’s BIG FrEQ EQ plug-in — partially extrapolated from its much-loved Lil FreQ hardware EQ — is now also iLok Cloud compatible in its latest update.) For more in-depth information, please visit ELI’s dedicated AROUSOR™ webpage here: https://www.empiricallabs.com/product/arousor/

#news #empericallabs #musicproduction #musicproducer #mixing #sounddesign #sounddesigner #mixingengineer #vst #plugins

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samersmusicalendeavours · 3 years

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Audio Compression

in this blog post I will be discussing audio compression in terms of what it is, the main types of compressors and some compression techniques, with my own examples of using compression in Logic Pro X.

Compression is a term which can be heard across a range of applications and most of us might know that an appropriate synonym for it would be to ‘squeeze’ something. In this instance, audio compression is where the dynamic range of a sound is made narrower. Once a sound reaches a certain threshold in terms of its volume, the signal becomes affected. There are two main ways in which this can take place: downward compression and upward compression. Downward compression involves attenuating an audio signal once it becomes too loud, whereas upward compression involves boosting an audio signal until it reaches a specific louder level.

Compressors are used to perform audio compression, with each having certain parameters. There are six main parameters of a compressor, however not all compressors have the full range of parameters available. The six parameters are: threshold, ratio, knee, attack time, release time, and makeup gain.

A compressor is activated when the incoming signal reaches a certain level, known as the threshold. When the incoming signal is loud enough to cross the threshold the compressor is activated, performing downward compression. Similarly, when the incoming signal is quiet enough to fall below the threshold the compressor becomes activated, however in this case it performs upward compression.

Ratio controls how much compression occurs. A higher ratio results in a higher intensity of compression. Knee affects how an audio signal will be compressed at levels around the threshold. A hard knee is usually more noticeable than a soft knee. Attack time determines how fast a compressor will react once the audio signal has crossed the threshold. Griffin Brown from Izotope states “The attack time is the amount of time the compressor will go from zero compression to full compression caused by the ratio and threshold” (Izotope, 2019).

Release time is the time taken for a compressor to get back to zero compression from full compression. Makeup gain is the parameter which enables the output signal to be amplified in order to make the louder parts, which would’ve been previously reduced in gain when compressed, to return to their previous volume level, resulting in the average overall level of the signal being brought back up.

So what are the benefits of audio compression? Compression is often used to make sounds louder and more present in a mix. It can help to add consistency to a live recorded instruments sound, as the varying dynamics present in these instruments can be controlled with compressors, Transients can be shaped. For instance, drums can be made punchier by increasing the attack time of the compressor, enabling the transient to stick out further.

Moving onto the types of compressors, I will go through three main types to give an idea of the variety of audio compressors, as each type can be used to achieve different results. Firstly we have the VCA compressor, where VCA stands for ‘Voltage Controlled Amplifier’. These compressors contain fully controllable circuits, meaning that the previously mentioned parameters are included: attack, release, ratio, threshold and knee controls. A classis VCA compressor is the SSL G-Series Console Bus Compressor. It has a great ability to glue a mix together and is used for multiple instruments, being especially good for drums.

The next common type of compressor is the FET compressor, where FET in this instance stands for ‘Field Effect Transistor’. As the name might suggest, the gain is controlled using an electric field. This compressor type is more aggressive in comparison to other types. This is due to its fast attack time. It’s useful for drums, vocals, bass and guitar but can be used on other instruments too as it is good for shaping transients. A classic FET compressor is the Urei 1176. This has a very fast attack time, however there is no threshold control. This leads to a unique quality as it can provide energy and grit to a sound.

VCA and FET compressors are common compressors particularly the VCA, however there is a third type which works in an interesting manner. This is the Optical(or Opto) Compressor. Using light to control the amount of gain reduction applied to an incoming audio signal, it produces a slow and smooth sound unlike other compressor types. The output gain is reduced by resistors proportionally to the brightness detected by them. This compressor type is useful for legato material such as strings and vocals. A classic Opto compressor, regarded as one of the best compressors ever, is the Teletronix LA-2A. It offers a simple user interface and natural, lush sounds. David Felton from Attack Magazine states ‘Top producers revere the LA-2A for its subtle warming characteristic - it can be as transparent as you want on vocals - but it can also be hit hard to yield a sizzlingly overdriven signal’ (Attack Magazine, 2012).

The three compressor types mentioned above are analog compressors, however many digital plugin versions can be found. Even the stock compressors in Logic include VCA, FET, and Opto type compressors.

There are two compression techniques that I would like to discuss here: Multiband Compression and Sidechain Compression. Multiband compression enables one to compress different frequency bands of an incoming audio signal separately, with the potential to have individual settings on each band if wanted. This is useful when adding compression to whole mixes and groups of sounds which will consist of multiple frequency bands such as drum kits (hi hats are much higher in frequency than the kick). Each band can be compressed accordingly, rather than everything being compressed in the same manner like with full-band compression.

Here is an example of multi band compression using Logic.

This is the UI of the Multipressor in Logic. It consists of four bands which are labelled and the frequency range of each band can be adjusted manually. There are presets available as well, such as punchy drums, hard compressor, strings multipressor and many more.

Sidechain compression is where compression of a sound is triggered when another sound surpasses a certain threshold. In other words the compression, in this case, of one instrument is effectively being triggered by another sound source. An example of this could be having a synth pad with a compressor which has a side chain input set to a kick. This results in compression on the synth pad every instance that the kick is played. In EDM this technique is used as it creates a pumping effect on the pad when the four to the floor beat is present, providing more rhythm to the music. A benefit of side-chaining is that it provides clarity to sounds. It is useful for making sounds which share the same frequency range stand out, for instance a kick and bass.

Here is an example of side chain compression using Logic:

In this instance, a compressor with a VCA preset has been placed on a bass: Nouveaux 80s Bass, and the sidechain, at the top right of the plugin, has been set to the kick. This results in the bass and kick sounding clearer as each time the kick hits the bass’ signal is compressed, meaning there is no interference, providing more power to the mix.

I also used it on a synth pad to create the pumping effect as mentioned earlier.

To conclude, compression can be used to achieve certain effects and when used on certain sounds, depending on the type of compressor used, certain sound characteristics can add further interest.

References:

Brown, G. (2019). Audio Dynamics 101: Compressors, Limiters, Expanders, and Gates. [Online] Available at - https://www.izotope.com/en/learn/audio-dynamics-101-compressors-limiters-expanders-and-gates.html. Accessed: [11/12/20]

Studiocare.(n/a). Studiocare [Online] Available at - https://studiocare.com/products/ssl-g-comp-b-stock. [Accessed: 11/12/20]

MusicTech (2016). Vintage Rewind: UREI 1176 Compressor. [Online] Available at - https://www.musictech.net/reviews/studio-icons-urei-1176/. Accessed: [11/12/20]

Felton, D (2012). Top 20 Best Compressors of All Time. [Online] Available at - https://www.attackmagazine.com/reviews/the-best/top-20-best-hardware-compressors-ever-made/19/. Accessed:[12/12/20]

Retrosonic Pro Audio. (n/a). Universal Audio LA2A. [Online] Available at - https://www.retrosonicproaudio.com/product/universal-audio-la2a. Accessed: [12/12/20]

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bellioss-music · 5 years

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There are several types of compressors. VCA: Voltage controlled amplitude Most of the Daw's classic compressors are vca. this compressor stands out for being especially fast. it is extremely sensitive to changes in electricity and is great for compressing transients and very pronounced peaks. beatskillzplugins has an invreible compressor called bounce which is a beast with urban music. In addition it is very good and versatile. OPTO: optical compression. If you have used the Cla-2a or the Cla-3a of @wavesaudio. You have used this compressor. These compressors are especially soft and slow. They use a light reception system using photocells and light bulbs. A "spotlight" emits light to a receiver the more light and intensity the more compressed the photocell receives. It is great for voices, legato violins and things that should be kept on time. FET: this variant of the opto. It is much faster but without reaching the immediacy of the vca but adds a little harmonic distortion during the compression process. It is ideal to give a certain warmth to voices, percussions, guitars and anything else you can think of. Its effect is so 'notorious' that even with the compressor off if you load it alters the harmonics @softubestudios has a good Fet check it out. VARI-MU: The all-terrain compression. This compressor takes whatever you throw at it. It can subtract 1 db from 1:1 or 8:1 on a track with -5 rms. It's all the variable you need so it's usually used on Bus tracks where everything is supposed to be more or less in place. my option here is double @soundspot.pt has a huge Vari called FIREFLY that compromises the master or a crazy kick or a piano as if nothing...on the other hand @nativeinstruments. It has a compressor bus that is a perfect group glue. ONE KNOB: this type of compressor is like an anti dynamic wall. It only has 3 parameters: gain in, gain out and compress. They are ideal for finished songs and audios sustained in time. To give fast compression without overloading the ram are perfect @w.a.production. has an incredible knob compressor with options of type of action that is just INCREDIBLE. #bliog #classess #producer #audioengineers (en Madrid, Spain) https://www.instagram.com/p/Bsz39v5nid4/?utm_source=ig_tumblr_share&igshid=1edyl9mtgjeva

#bliog #classess #producer #audioengineers

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howtomakebeatsblog · 5 years

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via Twitter https://twitter.com/htmbeatsbloghq

Golden Age COMP-3A Demo Review: LA3A Style Opto Compressor Limiter: Modern Studio Classic Leveler https://t.co/yRY0DkHjOe #homestudio #recording #recordingartist #recordingstudio #mixing #mixingandmastering #mixingengineer #masteringengineer #audio #audioengineer

— How To Make Beats Blog (@htmbeatsbloghq) March 20, 2019

#music #producer #beats #hip hop #rap music #hip hop music #rapper #beat maker #beat ma

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thetapelessworld · 6 years

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Softube Running Sale November is Tube-Tech Month

A true blue deal for you! The Tube-Tech CL 1B Compressor, and the ME 1B and PE 1C Equalizers are among our most desirable analog-modeled plug-ins. And the Classic Channel is the last word in classy, colourful mix control. Celebrate Tube-Tech Month with us – a special pre-holiday-season price gives you a rare chance to score a crown jewel for your plug-in collection.

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The Classic Channel combines our awesome Tube-Tech plug-ins into one beautiful and mix-ready unit. Throw it across your instrument groups, or your two bus, and take advantage of smooth, musical opto compression, and sweet passive tube-driven equalization all at once. It's the next level for your sound.

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Comprised of three separate units, the passive tube-driven PE 1C and ME 1B ‘Pultec’-style equalizers and the world-famous CL 1B optical compressor, the Tube-Tech classic channel is not a typical strip. It tastefully warms and saturates any sound source with its tube-stages, and gently levels them with its slow, smooth compression.

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