#xlogic

[bananaper]

Slate vcc and ssl duende together

SLATE VCC AND SSL DUENDE TOGETHER HOW TO

SLATE VCC AND SSL DUENDE TOGETHER FOR MAC

SLATE VCC AND SSL DUENDE TOGETHER CRACKED

SLATE VCC AND SSL DUENDE TOGETHER SOFTWARE

SLATE VCC AND SSL DUENDE TOGETHER SERIES

The attack controls now offer six positions for a wider range of options. It seems every plug-in developer has their own take on the stereo compressor, and I'd bet most readers have at least one in their library. I had a chance to compare a real SSL g compressor across. The SSL G-Master Buss Compressor, the SSL G-Equalizer and the. SSL G-Master Buss Compressor available here: SSL 4000 Plugin Collection available here: Record y. Waves SSL G-Master Buss Compressor Gear returned in mint condition.

SLATE VCC AND SSL DUENDE TOGETHER SERIES

Thresh control (Threshold, +15 to -30 dB) Makeup control (Gain, -5 to +15 dB) SSL XLogic G Series Compressor Features: Legendary SSL G series stereo bus compressor. There are several reasons engineers have opted to use a stereo compressor on their master bus. Modeled on the renowned center-section master bus compressor of the SSL 4000 G console, the Waves SSL G-Master Buss Compressor plug-in captures the unique sound of the original's IC input and twin-VCA gain-reduction amplifier design. Based on the renowned master bus center compressor of the SSL 4000 G console, the SSL G Bus Compressor excels at making mixes bigger, more powerful, and punchy, while also enhancing cohesion and clarity. Based on the legendary bus compressor of the SSL 4000 console. Meters are calibrated to 18 dBu = 0 dBFS. Built in 1978 by the legendary Townhouse studio engineers, this unique compressor was created using console components supplied by Solid State Logic (SSL). Being 100% ITB, I was using Slate VBC on my mix bus for subtle compression on every mix. The internal Side Chain Filter allows you precise tailoring of low frequency response to reduce low-end "pumping," while the Mix control provides inline dry/wet processing - perfect for quick parallel compression on a drum or vocal bus. The SSL compressors-both the channel strip dynamics sections and the G-series Master Buss Compressor-helped to define the sound of the modern drum kit, with punchy compression on both individual drums, and on stereo overheads and drum masters. Buss Compressor, and the SSL G-Equalizer. SSL G-Master Buss Compressor - Worship Tech We load Native Instruments' Solid Bus Comp - a plugin emulation of the classic SSL G-Series Buss Compressor - as an insert on our track.

SLATE VCC AND SSL DUENDE TOGETHER SOFTWARE

SSL G-Master (Waves) Pro-C (Fabfilter) dbx® 160 (Waves) Comp FET-76 (Arturia) smart:comp (Sonible) SSL G-Master (Waves) The SSL 4000 G Series bus compressor has been copied, emulated, reworked, and rehashed by both hardware and software manufacturers for years now. The infamous SSL bus compressor is the first choice for many professionals. The signal going into the compressor is split into two feeds. The primary focus of this compressor is on delivering punchy sound.

SLATE VCC AND SSL DUENDE TOGETHER CRACKED

Ssl G-master Buss Compressor Cracked on eatilsoze They're PCM Mac platform compatible. The bxtownhouse Buss Compressor is the ultimate.

SLATE VCC AND SSL DUENDE TOGETHER FOR MAC

The main purpose of WAVES SSL G-MASTER BUSS COMPRESSOR MANUAL for Mac is to display and remove. User reviews: Waves SSL G-Master Buss Compressor. Waves SSL G-Master Buss compressor, Waves SSL E Channel, McDsp Analog Channel, McDsp ML 4000, and Adam Monitors. Prized by top engineers for its ability to "glue together" tracks, the SL 4000 G master buss center compressor is ideal for. SSL G-Master Buss Compressor … read more Based on the renowned master buss center compressor of the SL 4000 G console, the Waves SSL G-Master Buss Compressor captures the unique sound of its IC input and twin VCA gain-reduction amplifier design. The FG Grey is modeled after the classic SSL 4000 buss compressor. The original SSL G Bus Compressor uses a voltage control amplifier (VCA) to compress the signal, as well as a VCA-enabled detection circuit to adjust how the compressor is applied. Customer Reviews of the SSL 4000 G Bus Compressor.

SLATE VCC AND SSL DUENDE TOGETHER HOW TO

Step 1: Master bus compression is an often-misunderstood technique, so let's look at how to use it effectively. Discussion in ' Backline ' started by laszlozsolt82. SSL G-Master Buss Compressor Modeled on the master buss center compressor of the SSL 4000 G console, the SSL G-Master Buss Compressor plugin captures every nuance of the original's unique sound. GVST GComp2 is a free compressor plug-in (Windows VST) GComp2. Based on the renowned master buss center compressor of the SSL 4000 G console, the Waves SSL G-Master Buss Compressor captures the unique sound of the original's IC input and twin VCA gain-reduction amplifier design.

[guardmmorg]

Ssl duende plugins

Ssl duende plugins install#

Ssl duende plugins drivers#

Ssl duende plugins software#

Ssl duende plugins series#

In terms of their usefulness, you can be as surgical or as gentle as you like with the EQ section – E-series for hacking into stuff, and G-series for gentle sound shaping. These are emulations of the channel designs used to mix just about every pop tune since the 4000 E-series was released in 1981.

Ssl duende plugins series#

So what will Duende do for you? How does 32 channels of SSL E or G series EQ combined with compression sound? Mighty attractive if you ask me.

Ssl duende plugins software#

According to SSL, this wrapper technology is courtesy of FXPansion’s VST > RTAS software but you’d never know it, as it’s integrated within the Duende installer. The software installs AU and VST versions of the plug-ins with ‘wrapper’ software to access the plugs as RTAS devices.

Ssl duende plugins drivers#

Currently, support extends to OSX 10.4.4, with Windows drivers expected around early October this year. It’s also recommended that, if you are running a Firewire-based audio interface, you should employ a separate Firewire bus for the Duende unit – not just another Firewire port but a completely separate bus on a third-party PCIx/e card. However, I’d be confident betting this will be possible with future software revisions. Two Firewire ports account for the only connectivity to the box, which leads me to believe you could gang these units up, but, as things stand, there’s no provision for daisy-chaining multiple Duendes. The unit will run from bus power or using the supplied wall-wart adapter.

Ssl duende plugins install#

It’s a similar affair to TC Electronic’s PowerCore and Focusrite’s Liquid Mix – you simply connect the unit via a Firewire 400 cable, install the software and go for it. There’s not a lot to say about the front panel other than it has a power switch and the words ‘Solid State Logic’ on the right-hand side. The Duende unit is a single 19-inch rackmount device that hooks into your system via Firewire. The C-series is itself modelled upon SSL’s analogue designs, specifically the E- and G-series consoles, and who better to emulate SSL circuitry than the SSL technicians themselves… And it’s this legacy that brings about the guts of Duende the same algorithms and technology that make the C-Series such a favourite of the broadcast and production industry. So what is Duende? Well, simply put, it’s a Firewire-based DSP system sporting channel strips and mix bus compression from SSL’s C-series digital consoles. Now we have Duende, which brings the SSL within hovering distance of us groundlings. But, even then, the XLogic range is still out of reach of most. In fairness, SSL has gradually been addressing the needs of those of us who are less well heeled with the release of its AWS900 console (which is nonetheless still over six figures!) and to a greater extent its outboard offerings. SSL FOR MORTALSĪn external DSP-based processor initially seems a strange move for a company that traditionally specialises in large-format consoles. Duende is the very essence of musical creativity and a darn good (or completely bizarre – Ed!) name for some SSL console-style processing that will integrate snugly with your DAW. The Spanish poet, Federico Garcia Lorca, when delivering his ‘famous’ lecture: The Theory and Function of Duende, is quoted as saying: “Thus duende is a power and not a behaviour, it is a struggle and not a concept.” You’re no doubt getting the gist by now. The Random House Dictionary translates the meaning to be a goblin, a demon and a spirit, or alternatively, the human attributes of charm and magnetism – charisma if you will. With the word’s recent migration into the English vernacular, the New Oxford English Dictionary claims duende to be a ghost or an evil spirit while equally being inspiration, magic and ‘fire’. Apparently the concept of ‘duende’ (pronounced ‘do-en-day’), owes its etymology to the Spaniards, and symbolises the human force behind creativity, most especially the musical art form. Huh? Until I’d taken delivery of SSL’s first DSP offering, I had no idea either. They’ve planted themselves fairly and squarely in the centre of the marketplace with a product that is sure to set tongues wagging.ĭuende.

[xafoseheqocu]

View and Download Waves Audio SSL E-Channel instruction manual online.Manuals and User Guides for Waves SSL 4000 E-Channel. We have 1 Waves SSL 4000 E-Channel manual available for free PDF download: User Manual · 1 Introduction. 4.

Developed under license from Solid State Logic, the SSL E-Channel strip plugin delivers the incomparable sound of the SSL 4000 Series console dynamics and

SSL E-Channel & G-Channel User Manual. 3. 1. Introduction. The unique sound of Solid State Logic 4000 Series analogue mixing consoles is sought after.

WAVES SSL 4000 Collection SSL 4000 E-Channel SSL 4000 G-Channel SSL E-Channel & G-Channel User Manual 1 Table of Contents 1. INTRODUCTION 3 2.

Visit SSL at URL: solid-state-logic.com The XLogic E Signature Channel unit brings the classic sound of the original early 1980s E Series

Contents. Introduction. 1. Welcome to the World of SSL. 1. About This Manual. 1. About the SSL Plug-In Range. 2. Channel Strip. 2. Bus Compressor.

</p><br>https://pirocipovemu.tumblr.com/post/692293701554388992/reason-propellerhead-manual-pdf-download, https://pirocipovemu.tumblr.com/post/692293983625461760/the-subtle-body-pdf-download, https://xafoseheqocu.tumblr.com/post/692293720922587136/microsoft-word-user-guide, https://pirocipovemu.tumblr.com/post/692293701554388992/reason-propellerhead-manual-pdf-download, https://xafoseheqocu.tumblr.com/post/692293720922587136/microsoft-word-user-guide.

[stoersender]

Finally, it took a while to obtain my wooden mixingtable from Peter Charlton. Doesn’t it look lovely? A bunch of good sounds and music lines will put through this marvelous summing mixer, here and now in a deserved wooden coat. Thank you Peter for your great service making this happen.

[hotstudiogear-blog]

You only get to play your TOP 5 albums here.. which ones do you pick? Name your picks below 👇 ・・・ . #Harbeth #LS5/12a #Neumann KH80 #Focal Shape 65 #Amphion One15 #Dynaudio LYD-7 #Roland CR-78 CompuRhythm 1970s iconic drum machine #AMSNeve #Neve8801 1U #Producer Pack Channel Strip #UniversalAudio #4710D 4 Channel #microphone line Preamp - Special Offer Inc. Free UAD Quad DSP Accelerator #DBX160SL Dual Compressor Limiter #SSL #XLogic #GSeries Compressor #Phoenix #Nicerizer16 MKII 16 Channel #Summing #Mixer via @studiocarepro (at Link In Bio)

[lwilddiamonddogl]

Actions Speak Louder Than Word's

Pairing: analogical (anxiety xlogic)

Description: Virgil is touch-starved and Logan plans on fixing that.

Warnings: Slight angst, nothing bad. Mostly just fluff and cuddling.

If you havent see some of my post involving my sleep schedule, its near to non-existent. If this is shit, which it is, i am so sorry. Please enjoy anyways.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Logan was pissed. Outraged. Unthinkably vexed. He was Aggravated more at himself then anything else but still distressed to say the least. He was the analytical side for Newton's sake, but somehow he overlooked most of the vital, obvious signs Virgil displayed.  

Virgil was touch starved.

Logan should have known Virgil was not receiving enough human contact, that he lacked the love and attention the anxious side needed oh so much. The way he seemed to freeze up like Windows XP whenever he brushed up against one of the other sides accidentally, or the way he looked longingly at Patton whenever he’d engulff someone in one of his famous ‘Patton Hugs.’ Logan thought back to the few times he had seen Anx curl up in a cat like manner, pillow held tightly in his arms acting as his life line while he slept. Logic was going to fix this, no matter how long it took, he would do anything for the anxious boy he held in his heart.

Logan attempted to keep his rage and self hate under control as he searched for Virgil, rushing around the mind palace at a quick pace. This matter was urgant, he mustn't waste a minute of his precious time.

After what seemed like hours, he finally spotted him pushed against the corner of the couch. Eyes closed, earbuds in, and hood up. Logic quietly sat himself a few inches from his familiar, dark friend, close enough to touch if one were to shift their weight slightly.

Before Logan made any moves he took a moment to admire the angelic being next to him. His skin reminiscent to the moon and stars, his lips red as a rose. He could spend hours taking in every detail if it weren't for more pressing matters that needed to be addressed.

Logic kept his movements slow, wishing to help the anxious side instead of scaring him off, He lowered anxiety's hood, causing Virgil to snap open his eyes in confusion and shock. Before he was able to ask what the hell Logan was doing he felt soft, caring hands run there way through his hair and across his scalp. Anxiety practically forgot how to speak, words failing him. A small gasp falling from his lips instead, face turning a deep shade of red. Unexpectedly he leaned into the warm, welcoming touch, tingles running up his spine. Part of his body told him to stay, to enjoy Logan's attention. Yet another part of him told him to flee, hide within the safety of his room. Told him he didn't need nor deserve any form of love, that that was reserved for people like Roman and Patton.

Anxiety was close to fleeing the scene, no matter how badly he wanted to stay and indulge himself in this new found affection. Logan seemed to notice this, however, and slowly intertwined his fingers with Virgil's as a silent beg for him to stay and allow Logic to show him what love is.

This finally broke anxiety.

He flung himself into logans open arms, Keeping himself as close to Logic as he possibly could, the space between each warm body was non-existent. He inhaled the scent of new books and fresh ink that lingered on Logans skin, nuzzling his head into the crook of the logical sides neck.

Logan held anxiety tightly into his chest, refusing to let go of his sarcastically sweet emo, nothing would stand between him and his love. Logic made a silent vow to protect the fragile boy, no matter the risk. He vowed go to hell and back for Anx, to sacrifice anything and everything just for his happiness. Limbs tangled together, a secret dance the two of them shared. It was almost like an instinct, a natural thing the two of them had done million times before, tho it was foreign to both sides.

Logics hands continued to play with the  luscious, silky ocean that was the anxious sides hair. Combing through the fading magenta. He cradled anxiety's head with love, a  wordless way to say everything would be okay. Anxiety's hand clung to Logans inky black dress shirt, the other still intertwined with Logans.

Logic placed a kiss to the top of Virgil's head, no words were exchanged, only soft, loving touches. They melted into each other, soon falling into a peaceful slumber.

[definitionmusic]

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

[webmasteritalia]

Promozione Hosting - Sconto 30% - Xlogic https://diggita.com/v.php?id=1653314

[prinxietys]

Ship names~

tbh i should probs just put this in a faq or something but for now I’ll just leave it here

Prince x Anxiety= Prinxiety

Dad(Morality)xLogic= PTA, PTA Dads, and/or PTA Sanders and/or logicality

MissyxPranks= Tag Team, Tag Team Sanders

LogicxAnxiety= Analogical

MoralityxAnxiety= Moxiety

LogicxMoralityxAnxietyxPrince= LAMP, Poly Sanders

MoralityxAnxietyxPrince= DarkDisneyDads, Dark Disney Dads

PrincexMorality=Royalty

[ddc-bside]

How To Instantly Pitch / Tune Any Audio in Logic Pro XLogic... How To Instantly Pitch / Tune Any Audio in Logic Pro X Logic Pro X has more tools for pitching and tuning audio than you may have realised, and it works just as flexibly as editing MIDI pitch does. Darren Burgos explains. … http://ask.audio/articles/how-to-instantly-pitch-tune-any-audio-in-logic-pro-x http://gear.districtdacapo.com/post/165022423201

[automatedmicrobial]

Automated Microbial Identification Systems Clinical Chemistry Reagents Kits Newborn Screening System

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