An old but really useful one that I use for soft clipping transient peaks down by 1 - 5 db from the 0 db ceiling (which is useful if you want to apply a makeup gain after the final limiter due to other processing (such as filtering plugins like OEK Sound Soothe) that might lower the volume by 1 - 5 db):



Peak Compressor by Sinus.

It's surprisingly transparent for an older plugin, with both look-ahead and auto release.

FabFilter Pro-L 2 would be a decent replacement to it, if you could specify a ceiling lower than 0db. (While you can lower the output volume, you can't lower the ceiling. It always limits at 0db.) That's another thing by the way you can do in PSP Vintage Warmer 2... limit at a ceiling lower than 0db.

(I guess lowering the ceiling is basically specifying a threshold which would make it a compressor, not a limiter, but I don't see the big deal with at least allowing some variation with the ceiling in a limiter, especially with an in-the-box plugin.)

 

Last edited: Sep 11, 2018

For analog-in-the-box nowadays the go-to company is Acustica.

 

This is Bob Swedien's dog Boo (for reference:http://inthestudiowithbruceswedien.com)



Boo would be the first to tell you that you can quote anyone saying anything, but if it is not in context of the discussion, it is literally taken out of context and can be used as a kind of propaganda, to be used to create a false narrative in an argument in an attempt to sway an opinion with false direction and slight of hand. Politicians, who all seem to be professional liars, do this almost every time that they open their mouths (except when eating and giving head to their big donors).

So here is Mr. Sweden's whole post at GS in order to put it in context, and to summarize, he does use compression...but tries to minimize the use. Mic placement is crucial in getting the best possible sound to enable a great mix with a great artist and the consummate professionals that he gets to work with.


COMPRESSION IS FOR KIDS!!!!
All.....

Let's get this out in the open once and for all. Here is how I feel about compression...
Compression is for KIDS!!!! I think a little discussion is in order....

The compressor or limiter.

Before the introduction of the automatic gain control, or compressor, the only way the music dynamics could be controlled was by "riding" the gain, or volume control. Fortunately for us, the introduction of the compressor was not long after the introduction of electronic recording.

Most compressors are threshold sensitive, which means that signals below a certain volume level are not affected by the device. This threshold level is set by the user. Signals above this threshold level are reduced in gain. This gain reduction level is also set by the user and is expressed as a Ratio. Compression ratio is expressed in DB's. It means that a certain change in input level will result in a certain change in output level. Response time is pretty obvious and I think you probably already know enough of the basics about compressor/limiters to get you through a session.There has from time to time been a trend to use compression on the mix buss of a mix, but to my ear this use of the device will cause a dulling effect of the sonic image. This use of the device will also allow transient peaks to cause attenuation of the whole signal including low-level high-frequency sounds. If the sound sources on your multi-track are properly recorded in the first place they will not need much limiting or compression.

Experiment with all the new signal processors. There is no such thing as wasted time spent messing around with new effects. The main thing is to learn what will work to enhance the sonic image of the music you are involved with.Developing your own musical ideas is what creating a unique "Sonic Personality" is all about. Don't let the technology control you. Try to remember that just because all these new 'toys' are there doesn't mean you have to use them. If they make sense in the music and add to the musical 'sense' of what you are working on then they belong there.

One last little thing about peripheral processors...I always try to think of how a record that I am doing will sound ten years from now. Will a processing device of today make it sound hopelessly dated in the future. I realize that that is hard to judge and I have no crystal ball to listen to. Think of it like this, it would be like doing a recording ten years ago and using one to many wah-wah pedals on the guitar parts. Don't put one to many processors on the music just because the effects are in the control room. By keeping the musical 'sense' of a piece of music uppermost in our minds, the music that we record today will sound just as good years from now as it does to us today.

So...... to sum up......

Good transient response is especially important when recording acoustic instruments. This is one case where it’s extremely important for one to have equipment that is able to capture as much of the initial transient as possible, and all it’s accompanying delicate details.

In the music that I am normally involved in, I have always felt that good transient content is one of the very most important components of the recorded image.

I would even go so far as to say that transient response has at it’s core a direct relationship to the emotional impact of a recording. Particularily in the main genre’s of music that I record.... namely R & B and ‘Pop’ recordings.

The faithful recording and reproduction of sound source transients makes the strong rhythmic elements in R & B and ‘Pop’ recordings much more dramatic.

These are the elements that are so important, such as the ‘Kick’ or bass drum, the ‘Snare’ drum, hand-claps, percussion...etc.

I think that well recorded transients give R & B and ‘Pop’ recordings a feeling of tremendous energy.

To me, the excessive use of compression and limiting diminish the drama of sound source transients in recorded music. Along that same line of thinking,

I should also point out that I have never been(and probably never will be) a big fan of dynamics compression anywhere during the recording process.

To me, when R & B and ‘Pop’ recordings are over-compressed and over-limited, they lack the extemely fundamental qualities of both primitive energy and smooth high-frequencies.

The reason that over-compressed and over-limited recordings lose high end energy, is that much of the sound energy in a recording is concentrated in the lower frequencies.

These low-end signals will negatively influence a wide-band compressor’s operation, causing higher frequencies to be attenuated during peaks in level, making the music sound dull and lifeless.

Personally, I love transients and what they do to dramatize music. Let them live! If a recording is over-compressed, it will always be over-compressed. In other words, it will sound dull and lifeless forever!


Bruce




Then, in answer to a fellow disagreeing to his previous statement...

I LOVE to be disagreed with!!!!

Which brings me to the: So-called rules.....

I must tell you at this point that the before-mentioned facts, like many other so-called 'rules in the art of recording sound, are to be understood and kept in mind, but not necessarily regarded as gospel. I do, in fact, frequently break those rules when I am looking for a certain 'sound' or 'sonic image'.

I should, at this point, along this same line of thinking, tell you another thing about the Evolution of my 'sonic personality' that I regard as exceedingly important..

I will always sacrifice a technical value for a production value....

In other words, to me there is no technical rule, axiom, or creed, that is so sacred as to make itself more important than a musical value, or production value, in the recording of modern music. If I were looking for a very 'breathy', sensuous, vocal recording 'sonic image', for instance, I would place the singer as close as is physically possible to the microphone, thereby eliminating almost all early reflections. I would even use no windscreen, if possible....

You can hear this technique in action for yourself, as I used it on Michael Jackson’s lead vocal on the song "Earth Song" on Michael’s “History” album.

I recorded Michael's lead vocal on "Earth Song", with one of my Neumann M-49 tube mikes. I used no windscreen. I placed him as close as he could possibly get to this incredible old mike. "Earth Song" is a piece of music that has many different effects and reverbs as part of it’s sonic image. Since right now we are discussing mainly a vocal sound, I’d like to take this opportunity to point out that I came up with a very unusual LEXICON 224XL “Inverse Room” type lead vocal effect, for my mix of “Earth Song”. As an additional point of interest, there is a TC Electronics M5000, highly modified, “Wooden Hall” reverb on the drums.

Bruce Swedien

 

Last edited by a moderator: Sep 11, 2018

SK-Note STA Limiter certainly is wonderful on voice. Since I have tasted the Softube TLA-100A I find it super easier to dial in and so don't have to take my eye off the ball, that is I don't have to tease and tweak it out like I feel I need to do with the SK-Note. The only issue that I have with the Softube is the $199 that I don't have to buy it with right now.

 

I know well Arousor and I love it,especially for Bass.
I like a lot the Waves API compressor on busses.
I like the Waves CLA2A on vocals and Pads too.Some times I use the Waves CLA3A with its different tone.
I use the Waves CLA76 or Arousor on drums.
I use the Fabfilter Pro C for sidechain because its attack is ultra fast and it has different algorithms with different shapes,it is interesting in sidechaining.
And the Fabfilter Pro MB for specific needs.

 

I don't know if you know well the Kush plugs,they are interesting.I like the Electra EQ,and the UBK is very good on drums too.Transformers sound good too,nice harmonics.

 

Good old waves mv2/maxx volume. Upward + downward clean compression in 1 simple plugin is a big time saver.

 

Buster by Analog obsession on the master bus.I almost always find console saturation to be better than compression ,for my needs.

 

My go to compressor is the waves CLA76.
But I suggest to focus on envelopes, volumes and dynamic EQ.

 

Only UAD soft 1176, UAD LA-2A, UAD Neve 33609 Fatso and distressor

 

What compressor would you pick for vocals..?
What compressor would you pick for the overall mixdown..?

 

This gets my vote for the best forum post of all time!
very sage-like and full of common sense ( which i need in large portions)
thx

 

Sometimes, compression is necessary. Unfortunately, modern mixes kind of demand it. There's also bands and artists that avoid master bus compression or mastering compression in general, which is all fine and well (and should definitely be used less than it is!), except that compressing mixes has become the norm, or even the standard. It's become part of the "sound" for all genres of music, so when it's left off, it's labeled as "wrong". Conversely, people slap compressors on tracks to make up for shortcomings that could have been corrected on the way in. Worse, they slap compressors on stuff because they saw it in a YouTube video or read it on a (ahem!) message board, without knowing what a compressor does or why it's there to begin with. Or they put it on a master bus because they don't know how to mix and use the compressor as a way to fix things they could fix by just rethinking their mix decisions ... or, worst of all, just to make it "louder". Too easy to abuse plugs these days.

 

UAD LA-2A
Fabfilter C2

 

less is more

 

My test. Read the description of the chain at Audiomack. This is a GREAT plugin.



Edit: Gefell UMT70S ~ Warm Audio Tonebeast ~ Warm Audio WA76 ~ FabFilter ProDS ~ Fuse Audio Labs VCL-25A...ears

 

Last edited by a moderator: Sep 14, 2018

I couldnt find the desc. care to share it?

 

woo! love it

 

There you go...and thanks for listening.