https://audiosex.pro/threads/5teezos-analog-modeled-audio-plugin-lists.30646/

There they are

 

Very useful, thanks very much.

Swamped with compressors and eqs, it's nice to have a lookup.

 

1: Fairchild (If you are versatile in using it, can be for some tricky to use)

2: 1176 Has a wonderful bite on the attack. (Also when used in conjunction with a LA-2A you can achieve some wonderful things).

3: API 2500

Good luck with the purchase.

 

Probably right. I guess this quote is more based on the function as a master buss comp than its sound.

 

Last edited: Sep 21, 2018

ooh, we might have a Jedi in the midst

 

Brainworx SSL4000 E and G are very close to a real SSL from what I hear

 

What would one be looking for in a master bus compressor? What qualities would it need to have?

 

Thanks for all the posts!
For compression duties I've been ususally using Alloy(in the past), and now Neutron2 Advanced, and for mastering I use only Ozone8 advanced.
I didn't use analog emulation compressors...
So I I'll buy the API 2500 and I think I'll use it on buses, drums, and during mastering I'll use it before the audio goes into Ozone8

Do you have any tips on how much is too much compression in these specific application?
I mean, how much gain reduction do you like to apply using API2500 in these applications:
a) individual drums (kick, snare, hihats...)
b) drum bus
c) vocals, synths
d) mastering/ mix bus (up to 3dB of GR?)

 

Well, to be fair, the Fairchild it is not as simplistic as other compressors like the LA2A for example, which has only a fixed threshold where you just push the gain into and dial the amount of gain reduction in. The 670 has a lot more variables: an input stage, a variable threshold, a m/s mode and these odd fixed attack and release time presets called "time constants" with different characteristics. I don't think it works particulary well in Hip-Hop or electronic music, but maybe there is more to it which I didn't have grasped yet.

 

I thought he was using just as a subtle saturator/compressor which is more my thing as well. I actually got into LA2A's much later for some reason. For OP's purposes I'm starting to like that 2A option for simplicity also. I'd start with it as a bus compressor or parallel like someone else mentioned, (scope the button combinations mentioned). I guess the other great thing about this one is that you're getting a compressor that can flip a switch into a limiter which is nice as well.

 

Soft ratios have soft knees,hard ratios have hard knees generally on compressors(when you can't change the knee) and it is good like that for me.I never need a hard knee with a 2:1 ratio and a soft knee with 20:1 ratio.
20:1 is quite limiting,not far...and the 1176 all buttons mode can be interesting in parallel compression for example.
So you're right, yes the API is versatile even if is more considered as a bus compressor but the 1176 is versatile for me,even if it can't do all.
I don't see in my plugins any compressor that can do all by the way.

 

It depends on the input content

 

I would add Ik Multimedia to the list of Pulteq Eqs in the pdf (EQP1A).

 

Then you're in for a treat. The "proudly digital" plugins, like iZotope and Fabfilter are great for when you need a very specific thing, but for most bread&butter use, emulations are way, way quicker and easier to set up.

Just like with Ozone, if it sounds good, it is good. That said, I never really go for more than 6dB of gain reduction. It just doesn't sound good, and you're better off having two compressors in serial - one to deal with fast peaks, another one to do gentler volume shaping.

That said, in analog emulations you'll often have a VU meter which is something you probably aren't used to. They have a very particular response. Pay close attention to your release time. You definitely want to allow the needle to jump back to 0dB of GR when doing drums and peak taming. It's actually what the API 2500 is great at. It's not that useful as an always-on overall thing, have it work in the tempo with your drums and you're in for a punchy mix.

 

A bit off topic, but there's a great deal to be found over at Plugin Boutique.
Basically, you can get iZotope Ozone 8 Elements (contains the EQ, Imager and Limiter) for as low as 1 Pound. You just need to buy anything and with the invoice you get you will receive a 100% discount coupon for Ozone 8 Elements. I for example bought Boz Lil Clipper and AIR Vacuum for for a pound each. You can't cheapskate or lowball any lower. :D

Get it while you still can.

Here's the Link: https://www.pluginboutique.com/articles/1392

 

Probably the Puigchild -- sounds like you want a bus compressor, and the API or CLA-76 are better for track insert compression, at least in my experience. Your best bet overall would be Waves' SSL G-Comp plug, but the Puigchild does a fair impression of a Fairchild and meets all your criteria. Second choice would be the API, since it's a bit more versatile, and it's on the tail end of most real API consoles, so it's at least realistic to use it as a bus compressor.

 

Last edited: Sep 28, 2018

Why is the choice limited to Waves though?

 

Hey, thanks very much for the heads up!

I picked up 2 synths and Ozone for £2.00

Air Vacuum Pro -- £100 ---- On offer for £1.00
Air Hybrid -- £100 ---- On offer for £1.00
Ozone 8 Elements ---- Free

Wow. Nice one. Thanks!!

 

To be quite honest @Iggy I wouldn't be so quick in betting on G bus comp, without a highpassed sidechain it usually gets you that nasty "breathing in" sound on kick.

 

I usually put it on the master fader. You won't get that pumping sound on the drum bus so long as you don't drive it too hard; I like it as glue, but the G-Comp doesn't really do transients too well.