1/17/2024 0 Comments Native Instruments Vari Comp free![]() It might not set out to model the dynamics approach of a specific piece of vintage hardware but make no mistake, this is a compression plugin of note.Īnother bundle, this time from the company which brought you BFD and the DCam Synth Squad. ‘H’ stands for Hybrid here, translating to an attractive feature set, including extensive modeling of the behavior of a number of analog compressors, a transient-sensitive approach which allows users to retain punch in sound sources and a Release response which can be synced to tempo. Waves have a generous number of compression processors available but alongside those devised endorsed by prominent names in modern mixing, you’ll find the H-Comp. Check out the Pro-L for similarly intuitive Limiting capabilities too. Equally at home in subtle and critical mastering setups as it is when strapped across a drum kit’s overheads, FabFilter’s processor is a modern classic. These features will get you started but, much more importantly, the way that this equates to rich, musical dynamics processing is the key to the Pro-C’s success. The colour scheme, the size and response of the dials, and the real-time feedback of the way in which the compressor is responding to input signals all feel a little different somehow. The Pro-C is no different, with one of the most ‘tactile’ user interfaces you’ll ever find on a virtual product. For alternative dynamics processing, don’t forget Slate Digital’s FG-X loudness maximizer too.įabFilter’s plugins neither look the same as anybody else’s, nor sound the same. Across the three processors, this equates to an awful lot of compression royalty and whilst Slate Digital’s remit is to provide plugins at affordable prices, no expense has been spared at the emulation stage. These features three plugins, based on the dynamics modules of the SSL 4000 series consoles, the Focusrite Red compressor and a kind of hybrid between the Manley Variable Mu and the Fairchild 670. Slate Digital have developed a highly competitive range of processors in the past few years and alongside their Virtual Tape, Virtual Console and Virtual Mix Rack plugins you’ll find the Virtual Buss Compressors. Again, this is a faithful emulation of the hardware on which it is based, with plenty of notable names among those offering their stamp of approval. It also features its own unique EQ controls and responds beautifully to side-chained input signals, allowing its treatments to feature across the full range from ‘subtle’ to ‘slammed’. For a start, it features negative Ratio values alongside the traditional positive ones, meaning that you can create ‘backwards’ compression effects – a novel feature for the creative producer. This is a compressor with a few tricks up its sleeve. By modern compressor standards, the range of controllable features seems low but as every component in every stage of the hardware has been carefully recreated for this plugin, the vintage nature of the original hardware is impeccably echoed here. This suite features emulations from three ‘generations’ of 1176 hardware, which feature identical parameter sets but different sonic characteristics. UAD’s original 1176 clone (one of the first to be released on the UAD-1 platform) was replaced in 2012 by the Classic Limiter Collection, a painstaking remodeling of Bill Putnam’s most famous dynamics controller by the digital division of the audio company he helped to set up. ![]() Recently ported to the UAD platform, it continues to flourish as a native plug-in as well. ![]() In particular, it has a highly ‘musical’ response, which means that it translates extremely well to material with a wide frequency range, so that it is as happy working across the stereo output bus as it is on a single sound source. The CL1B plugin models the optical hardware compressor of the same name developed by TubeTech and it’s capable of wonderful results it’s just as suited to warm and subtle treatments on vocals as it is something more mangled and trashy on a drum parallel channel. Find out more about our Diploma courses here. With modules in mixing, sound engineering, mastering and even music business, it’s one of our most comprehensive courses and can be taken for up to 64 weeks. Of course owning all the compressors in the world won’t help if you don’t know how to use them and our Diploma courses are the perfect place to start. ![]() We decided to pull together our favourite compressors in a new top 10 list. With feedback types, solid-state, Vari-Mu and many more, there are literally hundreds of plugins all with different responses. While compression can enhance and control your tracks, there are so many ways to use and misuse the technique, it’s hard to know where to start.
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