This two-stage approach sets IK’s entrant apart from the others here and makes it particularly versatile, and the addition of an Input level control only bolsters to that flexibility, enabling overdriving of the signal into the processors for more creative application. The 33609 is known for its transparency and the supremely gentle nature of its dynamics shaping, and Precision Comp/Limiter replicates those traits to a tee by modelling the full signal path of its separate Compressor and Limiter circuits from start to finish. The strangely mundane naming of IK’s T-RackS-hosted bus compressor gives no clues as to its origins, but Precision Comp/Limiter is in fact an emulation of the legendary Neve 33609 – a bona fide studio staple since the 1970s, and still very much available in rackmount form. See and hear API 2500 Bus Compressor in action in Brent March’s video. It’s a truly incredible compressor with endless scope for tweaking, and, like The Glue, there’s no reason it couldn’t also be brought to bear on individual channels as well as the 2-bus. Beyond that, variable left/right linking facilitates a high degree of stereo control, and with the Ratio ranging all the way up to inf:1, you can even use API 2500 Bus Compressor as a limiter should you feel the urge. API 2500 Bus Compressor is an absolute triumph, serving up all the features and functions of the hardware, plus Headroom and Mix controls.Ĭentral to the workflow and sound is the Tone section, wherein the Thrust setting filters the detector to balance the frequency response for added punch, the Tone switch flips between feed forward (‘Old’) and feed back (‘New’) behaviours, and three Knee options (‘Hard’, “Medium’ and ‘Soft’) are on offer. Given the number of SSL emulations on the market (as reflected in this round-up!), you’d be forgiven for forgetting that bus compressors by other manufacturers are also available – and without doubt one of the finest is UAD’s software remake of API’s classic module, which can be had in both DSP-powered UAD-2 format and as a native UAD Spark plugin. At this price, it’s a serious contender for any producer’s cash, assuming that famously ‘SSL’ sound appeals, natch. On the mix bus, The Glue proves itself to be an impressive SSL-alike, pulling projects together nicely, and thanks to the Range control, it’s also thoroughly viable for compression of individual instruments. The most transformative additions, however, are the Range and Wet/Dry Mix controls, the first limiting the depth of compression for character modification, and the second enabling ‘New York style’ parallel compression. As for the new stuff, The Glue boasts a few extra Attack and Release time settings, as well as a high-pass filter on the sidechain and a peak clipper. All the expected parameters are in place – 2:1, 4:1 and 10:1 Ratios fixed Attack and Release settings with an ‘Auto’ option for the latter – and it’s all perfectly straightforward and easy to get to grips with. Cytomic’s SSL bus compressor emulation plugin aims to nail the titular cohesion-inducing effect of the real console deal – that, in this case, being a hybrid of the modules from the E and G Series – and expands on it with various new features.
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