Now that these are stand-alone plug-ins, I am much more likely to use them on drums and vocals. They all have a modern, streamlined and comfortable design, designed primarily for intuitive use. A detector high pass prevents unruly low end signals from mis-triggering the compressor. I'm not really impressed with it either. The input knob and convenient visual display allow producers to set exactly the right input level to drive the compressor. Typically this means that you have to have use two tracks to achieve this - one with a compressor, one without. Even when you're making quite radical changes to the timbre of an instrument or mix, it does so with such authority that it's almost as if the source had been recorded that way to start with.
A great thing about these compressors as well as the Softube ones are there parallel compression options. The high- and especially the low-pass filters are likewise audible way beyond their nominal turnover frequencies. For fans would be more didactic but hey it requires to work the ear. For the compressor according to the settings you get to boost the sound levels up without the sound becoming aggressive. It can compress fairly well on its own and can distort your signal if you mess with the Input Trim while having Compress at higher settings, especially with Dirt on and if you don't have Transient Master or simply want more punch on your drums it makes compression really easy. One-knob simplicity lets you sculpt your dynamics at full speed with total focus on the sound. Like the classic Fairchild 670, the Variable Mu is unusual in that it actually uses a vacuum tube as the gain-control element, rather than employing an optical compression circuit with a valve make-up amplifier.
Another is that the Bandwidth control doesn't behave quite like a conventional Q control, but interacts with the channel gain setting. A detector high pass prevents unruly low end signals from mis-triggering the compressor. Set the input gain once, then start adding thick, harmonic saturation and roaring presence — without having to adjust makeup gain. Switching the Vari Comp plug-in to Limit mode gave me exactly what I'd been after: obvious, yet very 'glossy' compression, which retained enough punch in the kick and snare to keep them cutting through when the guitars crashed in. I'm not complaining because I have plenty of hard-drive space. I don't own any of them so I can't compare the sound.
The only niggle I encountered concerns the resolution of the output gain control. A 'Saturation' knob with Mild, Crisp, and Slam saturation types give users three ways to add harmonic content to their tracks. And the Dirt button pours on an extra layer of saturation for tracks that burn with overdrive urgency. In a situation where you're using Vari Comp on a fairly hot input signal, it can be necessary to attenuate the output quite a bit, but for some reason, as you turn the knob to the left, it starts to jump in increasingly large steps, even if you hold down the Shift key, making it quite hard to set the level of the processed signal as accurately as I would have liked. As you turn it, you apply increasing amounts of either boost or attenuation, depending on whether that band is switched to 'boost' or 'cut' mode. Anyway a pretty good product from my point of view.
Vari Comp resistance with value rather flexible compressor, and can be used as a separate instrument, and in groups, as well as the mastering stage. Filter module is able to create a wide variety of effects, from ultra thin and incredibly rich. Enhanced Eq ideal for equalizing individual instruments, such as drums and bass, and is able to give clarity to high midrange. I went mainly presets and change some stuff sparingly. Here, again, you quickly realise the benefits of its unique ability to cut without robbing the source of impact, or boost without making things harsh.
It works fine for me and that's all I need to know. The new version extends its capabilities with additional amplifiers, effects, advanced speaker emulator, as well as a variety of new features that make Guitar Rig even more powerful tool for studio and live performances. Producers can quickly dial in a wide range of compression effects using a single 'Compress' knob. Combined, these features provide producers dynamic control, warmth, and sonic shaping in one convenient plug-in. The 'Character' knob can fill in missing low end and smooth out unruly high frequencies with Fat, Warm, and Aggressive character modes adding to its versatility. And thanks to the embedded saydcheyn and parallel compression, these plugins actually improve their originals.
I really feel a sense of clarity and transparency. This specially-priced bundle contains all three effects — get the secret weapons of the top studio engineers completely within the box. You may only post such content to ask specific production related questions e. Once the input level is set, producers can quickly dial in a wide range of compression effects using a single 'Compress' knob. This specially-priced bundle contains all three effects — get the secret weapons of the top studio engineers completely within the box. Supercharger takes the legwork out of perfectly-tuned compression.
The latter firms up the knee and applies a much higher ratio of around 12:1. Again, it's not exactly transparent, but adds a certain richness and sweetness to jazz and folk tracks that enhances the source in a very natural way. If you have any idea about how to use the controls on the hardware, then using this software emulations will be pretty straight-forward. I've been using Logic Pro for over a year new to composition and have been making hiphop beats mainly. I also take piano whose tone was not very pleasant I could improve it without altering the instrument.