hi, i want to start this Thread because i think it would be Great to make a List of Favorite Plugins from the Members in this Forum.
There are many many Hardware Emulations out there and i want to know whats you Favorite in each Category.
It would be great when you Copy and Paste this list, delete previous answers and post your Favorite .
Please give only one Answer .

if i should have forgotten a category feel free to add it

When there are some Plugin Emulations that are you dont use, leave this text line empty .

This would be the List :

Channel Strips:
SSL : SSL Native Channel Strip 2
Api : Plugin Alliance Lindell 50 Channel
Neve : Plugin Alliance Lindell 80 Channel

Compressors:
1176 :Arturia Comp Fet-76
DBX 160 :Arturia Comp VCA-65
API :Waves API-2500
Fairchild 670 :Waves Puigchild 670
LA2A :Native Instruments VC2A
SSL :SSL Native Bus Comp 2

Equalizer:
1073 :Black Rooster VPRE-73
Passive :Native Instruments Passive EQ
Pultec :Tube Tech PE 1C

Limiter :Softube Weiss Limiter

Tape Machine :Slate Digital Virtual Tape Machine

 

Yawn.

You need to list 6 compressors?

Choosing a singular favourite in each category forces an interesting choice.
Allowing multiple choices for each category by definition means none of them are favourites.

These are plugins remember... you're not been forced to choose your favourite child.

If you're not going to make the choice more difficult, you may as well have asked for "give me a list of every plugin you can think of for each category".

Doubtless that's what those people who like making lists will do anyway.

 

That's what he did... each of those 6 compressors is his favourite in each category of compressor emulations.

 

it would be pretty dumm just for the sake of feeling smug
to choose 1 comp
so what? hard knee, soft knee, what about limiting or multiband.
"noisy" or clean

btw you failed to mention your fave Mr. Yawn

@BenniTheBlockbuster
i like SSLs 4k and softube 9k (as you know ;))
but i mostly catogirize by usecase not type

like, "harder" accoustic drums for DnB or G.A. NY hip hop Api 560B
creates the sound i like very quick.
then...... the list gets quite expansive quite fast

 

I'm not a frequent user of analog modeled stuff, (except for Elysia..)
but these stand out to me:

Compressors:
Master Bus: Elysia Alpha Comp (obligatory)

SSL Comp: Bx_Townhouse (or just the offical ssl comp)
Opto: Tubetech CL-1B (although TLA-100A is good too)
Tube: MJUC (although Kazrog Dynamics is great too)
Vari-Mu: IK Dyna-MU
DBX: Arturia VCA-65
Neve: Arturia Diode-609
Distressor: Arousor (better than Waves or IK version imo)

I still don't have a favorite Fairchild, or 1176 emu.. (maybe they're not my type.. )
But Softube FET is really unique, so it could be on a different category than usual 1176's

Tape Sim: TR5-440 or Slate, depending on the style/project..

 

Last edited: Nov 25, 2021

Actually, this approach is a lot more helpful to me than simply naming the compressor type. Atm Im trying to select some essential plugins to focus on and really learn how to use. Turns out it's pretty hard to figure out what's essential and what are the different use cases for different types of compressors for example.

 

i would rely on plugins that are not emulations and find your sound there, except the 670 i have owned and own all of the listed above and every single emulation fails at where the hardware shines. personally when mixing, i only mix with non-emulation plugins to great success.

 

Which compressor did you choose?

Studio tips - tricks that improve the world
How Many Plugins Does a Good Mix Need: Is It Better or Worse Now?
by Bjorn Bojahr Article from the archive
https://www-soundandrecording-de.tr...l=auto&_x_tr_tl=en&_x_tr_hl=de&_x_tr_pto=wapp

Original German: www.soundandrecording.de/tutorials/studiotipps-kniffe-die-die-welt-verbessern/

 

Last edited: Apr 13, 2022

Whats the point if 99% didn't A/B with the related hardware, might as well just list your favorite plugins
Or make the categories appropriate, instead of 1176 Emulation say FET style compressor

 

Spoiler: Compressor settings

Compressor settings

The compressor measures the volume of the input signal and calculates the corresponding output volume at any point in time.

How large this should be depends on the user, who can set the ratio between input and output volume. In principle should
the compressor can output quiet sounds at the original volume (ratio !:!) and loud signals with less amplification (ratio e.g. 5:1).

The point of this thing is to make the music as loud and punchy as possible. The volume difference between the loudest and the
The quietest sound of the recording is reduced because loud signals are dampened more than quiet ones (the dynamics are reduced).

Compressor use when recording

When adjusting, you should proceed in such a way that you first adjust without a compressor, then switch it on and set the desired compression rate. The threshold value is now slowly lowered until the difference between the quiet and loud parts of the song corresponds to the desired dynamics. If the compression is to be largely inaudible, it is best to set a short attack time and a medium release time (long attack times emphasize hiss and pops).

Golden tip

Do not use the automatic settings for the attack and release times, as the results are usually insufficient. Adjust the compressor by ear. The values below are for reference only!!

Compressor use in the vocal recording

The attack time should not be too fast, otherwise explosive sounds can be distorted and the voices sound unnatural.
Recently, many sound engineers have been using fader automation to compensate for these volume fluctuations.
The real peaks of a voice do not arise at the beginning of a syllable, but only later, with longer vowels, which should then also be limited. Attack time is therefore relatively slow, set release time quickly.

If you measure a singer's volume range from 0 to 127, the threshold should be set so that the compressor starts to work at around 40. An existing soft knee function is preferable.

Sources of Error

Attack times that are too short result in clicks and produce an unpleasant pumping effect:
The entire level is constantly suppressed by loud signals such as bass drums - this results in audible volume fluctuations. Pumping also occurs when release times are too short or when compression is extreme. In turn, too long attack and release times reduce the effectiveness of the compressor.

Attack
Choose longer attack times of 10-100ms due to possible distortion of low frequencies (long runtimes).

Release
Do not set release times that are too short (below 50ms). Otherwise watch out for possible pumping of the signal. Usually results in a rough and unnatural sound. Adapt the release time to the duration of the instrument.


General Tips

After compression, process the signal with an exciter or enhancer – if it is too dull, it will be more brilliant afterwards.
The compressor should be looped in before the equalizer.
Low threshold and low ratio
With low ratio and threshold values you achieve an overall thickening of the sound.

Low threshold and high ratio
With a high ratio and a low threshold, you can keep individual instruments or vocals at a relatively constant volume for better integration into the mix.

Medium threshold and low ratio
A medium threshold with a low ratio setting and gain reduction of around 6dB is well suited for processing a sum signal.

High threshold and high ratio
And a high threshold with a high ratio is used to limit the overall level of your signal, so it's a classic limiter setting.

Average attack time
You can achieve unobtrusive compression with a medium attack setting, which you then carefully reduce until you notice the first distortions. If you then move the controller back a little, you have found the ideal compromise.

Longer attack time
If you use the compressor more for sound shaping and want to emphasize the attack phase of an instrument, you should set a longer attack time.

Long attack and release times
Extremely long attack and release times are referred to as levelling, because the compressor then hardly reacts to short-term level fluctuations and keeps the level at the same level over the long term. In this way, the short-term dynamics of the music are not affected, only longer-term deviations in volume are processed. Long attack times also emphasize pops and hisses.

Special Compressor Effect
You can give a relatively static sound a percussive kick at the beginning: choose a high ratio (at least 1:10) and an attack time of 5-10ms. The threshold determines the strength of the kick. The Release setting determines whether each note or only notes played legato are processed.
The equalization of the volume through the compression is accompanied by the fact that the changes in the overtone content are made clearer. Deep instruments such as cello, trombone and tenor saxophone gain immensely. A wide field of applications also opens up for synthetically generated sounds.

Strong compression as an effect (for stringed instruments)
Attack release ratio gain reduction
1ms 500ms 8:1 up to 10dB
compressing spaces
1ms 500ms 4:1 up to 6dB

Applicable to drums with room miking. Reverberation of the drums gets sustain that loses level over a short period of time. Sounds like the drummer is playing at full power.

Fingered Bass
Attack Release Ratio Threshold
25ms 200ms 2:1 (4:1) -10dB
50-80ms 500ms 3:1
50-100ms not too long 3:1 - 4:1

Release should be set shorter than the natural decay time of the bass (more sustain, more assertiveness. Set the threshold so that the soft tones do not trigger a deflection on the gain reduction display.
The release time should be chosen depending on the note length: 0.3 sec. or less for short notes, 1 sec. with long notes. The shorter the release time, the more audible handling noise.

Effects electric bass
If you want the electric bass to sound like an acoustic bass (for jazz and blues ballads):
You branch off the DI signal and boost the plucking noise with a narrow bandwidth, as well as the frequency range around 1 kHz and process this signal with a noise gate. The threshold of this noise gate must be just above the plucking noise.

Attack: 10-20ms
Release: 0.5s
Range: -20 to -30dB
The two signals are mixed and EQed to bring out the best components.

Slap Bass
Attack Release Ratio Threshold Output
15ms 70ms 10:1 -15dB
4-8ms 300ms-1s 4:1 - 10:1
1ms 50ms 6:1 -20dB +6dB

If you are unsure how much "life" you need later in the final mix, work with a smaller ratio and a higher threshold, and slightly compress the bass in the mix. The bass should not be compressed too much, otherwise it will appear flat, boring and powerless. If the bass plays in slap technique, the ratio may have to be higher or the attack time shorter. With slapping or strong dynamics, the ratio must be very high.

Fretless Bass
Attack Release Ratio Threshold
30ms 500ms 4:1 -15dB

Compressor
A compressor should be used for 3 reasons:
1. Because of the resonances
2. Due to high dynamics (30dB)
3. Due to insufficient "Sustain" (decay time)

The attack is between 3-5 ms. To set the attack time, have the bassist play low, loud notes staccato.
Release: under 0.5sec. The attack phase of the next note must not fall into the release time of the previous one.
It should be as short as possible without hearing too much finger noise, damper noise, or the compressor "breathing".
Ratio: 4:1. "Gain reduction" of 6 to 10 dB in loud passages is completely normal.

Synth Bass
Attack Release Ratio Threshold Output
0.5ms 300ms 12:1 -5dB +4dB

Singing
Attack Release Ratio Gain Reduction
10-20ms 50ms 2:1 - 4:1 6-10dB
20-50ms 100-500ms 4:1 -6dB
10-20ms 300-400ms 3:1 -6 to -10dB
50ms 1-2s 2:1 5-12dB
50ms 300-500ms 2:1 - 6:1
2ms 500ms 3:1 2-5dB
10ms 500ms 4:1 to 8:1

With voice dynamics 0-127, compressor should work at 40.
Long attack time / fast release (short attack and a medium release time. Shorter control times should be used for voice recordings. A short release time results in smooth transitions. Compress vocals with 3:1 during recording, only 1.5:1 for the final mix

Electric Guitar
Attack Release Ratio Threshold Output boost
5-10ms 100-200ms 4:1 -20dB
10-50ms 300-500ms 4:1 - 10:1
10ms 80ms 4:1 -20dB + 6dB

Heavy Guitar
Attack Release Ratio Threshold
30ms 500ms 1:1.5 -20dB

Clean Guitar
Attack Release Ratio Threshold Output boost
5ms 100ms 6:1

Lead Guitars
Attack Release Ratio Threshold Output boost
20ms 100ms 3:1 -20dB +4dB

Acoustic Guitar
Attack Release Ratio Threshold Output boost
10ms 200ms 2:1 (10:1) -10dB +2dB
Softknee characteristic, pure solo playing, quicker compressor, chord accompaniment, longer attack. and release times

Organ
Attack Release Ratio Threshold Gain Reduction
40ms 90ms 2:1 -20B

Fan
Attack Release Ratio Threshold Gain Reduction
10-20ms 300ms According to taste
Woodwind instruments like saxophone and clarinet with longer attack time

Strings
Use high-quality compressor, soft knee characteristic, longer attack and release times

Drums
fast attack times
Live bass drum (bad drummer)
Attack Release Ratio Threshold
50ms 300ms 8:1 -15dB

Live bass drum (more assertiveness)
Attack Release Ratio Threshold
100ms 300ms 8:1 -20dB

Live bass drum (with distortions = limiter use)
Attack Release Ratio Threshold
1-10ms 0.5-10ms infinity:1 -5 - 0dB

Bass Drum
Attack Release Ratio Gain Reduction
50ms 300ms 5:1 -4 - -10dB for loud hits
10-30ms 200ms 4:1 - 8:1
5ms 50ms 4:1 3-6dB

Due to the close miking (microphone close to the sound source), the natural sustain is lost through the first reflections. The "Release Time" must not be so long that the next shot is not affected. The "release time" must not be shorter than the "fade time" of the noise gate. Otherwise the beat will get louder towards the end. The larger the "Ratio", the more linear the sustain curve.

For typical mid-tempo pop and light rock, the Attack Time should be 2ms or less. A medium "ratio" should be selected. Then the bass drum sounds like a drum machine.

For fast pop, R'n'B, and dance, choose an "attack" of 5-10 ms, so the kick sound is not compressed. The "Ratio" should be set high. The bass drum can be added to the mix at a low level and still assert itself.

A short "attack" time is recommended for hard rock and heavy metal. Also the "Release" time should be short (30ms or less). The "ratio" should be very high.

Snare
Attack Release Ratio Threshold
5-20ms 150ms 4:1 - 6:1
20-30ms 200ms 3:1 - 6:1
With a good drummer, high compression threshold, the compressor should only regulate with loud beats. Insecure drummer: low threshold, soft-knee curve

A quiet, soft, smooth snare is required for pop music. This can be achieved with the following compressor settings: "Attack" under 2 ms, "Release" 1 sec. or more, "Ratio" on medium setting. The attack phase (transient process) is also compressed with these settings. The snare is then easy to control in the mix.

A brisk, lively snare is needed for dance and R'n'B. The following settings are necessary for this: "Attack" must be long (5-15 ms), "Release" on the other hand very short (less than 200 ms), "Ratio" on a medium setting. The attack phase (transient process) is therefore not compressed: the snare "bangs".

After all, for hard rock and heavy metal you need a fat snare drum with a long sustain (cooldown time). This can be achieved with the following settings: "Attack" is short (less than 2 ms), Release is long (2 sec.)

 

Last edited: Apr 13, 2022

Limiting each category choice to 1 is kinda counterproductive, because it's incredibly dependent on the use case, but here's some stuff that gets a lot of use here:


Channel Strips:
SSL : Waves SSL EV2 / SSL Channel Strip 2
Api : Lindell 50
Neve : Lindell 80

Compressors:
1176 : UAD 1176 mkii's / Waves CLA76 / Pulsar 1178
DBX 160 : Waves 160
Fairchild 670 : UAD 670 mkii
LA2A : UAD LA2a mkii's
SSL : SSL Bus comp 2 / BX Townhouse
Distressor : UAD Distressor
Opto : Softube TLA100 / Cl1b / Acme Opticom XLA-3
Mu : Kush AR-1 / UA 175B & 176 / Waves RS124 / MagicDeathEye

Also Kush Novatron, which doesn't really fit neatly in a category, but is amazing! Soundtoys Devil Loc too.

Equalizer:
1073 : UAD 1084
Passive : Softube Curve Bender / UAD Massive Passive
Pultec : NoiseAsh Rule Tec / PSP Noble Q
API : UAD 560 / 550
Helios / inductor : UAD Helios mkii

Limiter : Fabfilter pro-L / Newfangled Elevate / Submission Flatline

Tape Machine : UAD Studer A800 / ATR102 / Softube Tape / Waves J37


I'm really not that bothered about how 'close to the hardware' any of these are (although having quite a bit of experience with the hardware versions of most of the above, a lot come v close imo) - what's important is that they sound great, and let me get to where I wanna be.

 

Last edited: Apr 13, 2022

comps : ddmf's magicdeatheye/stereo , ssl, arousor
analog : p42climax
eq: stock/ssl
reverb: liquidsonics
amp: ml sound lab
daw: live11 suite
site: looptorrent

 

that's only a good tip if the recipient is a beginner
everyone else, i think comes from the love of music, that means listening to music
SO:
check the liner notes of your fav songs and look how they achieved that sound
Beatles?
Abbey Road/EMI Custom Gear; VST´s
Abbey Road, Softube, UAD and Waves
DrDre? SSL
Publick Enemy? Neve
and so on

i would suggest some of the stuff i mentioned above.
You get some cool ideas, like Beatles used kitchen cloths for some of the drum sound.
Prodigy and Dre produce mostly in Mono and use compressors on the master
with different release times on L/R channel, you get what i am saying

 

PSP 2445 -> EMT 244 and EMT 245

Love this Reverb. Currently on Sale through Plugin Aliance _Ext for 19.99 $ (149 on the reg). And sales by PSP are really rare. That's actually the first one I've seen in years.