I hope you enjoy this wonderful processor on your mixes as much as I enjoy it on my own. As an audio engineer myself, I am ecstaKc that I can now have plug-in compressors that exhibit the real tone and vibe that I've become accustom to for years with my analog compressors. The three compressors intended for stereo buss use will amaze your ears with their unique tone, versaKlity, musicality, and authenKcity. And now in 2013, we o er our first compressor bundle called the Virtual Buss Compressors. We started way back in the summer of 2010, with Fabrice Gabriel and Slate Technical Director Anthony Tagliane_ doing hundreds of measurements on some of the most sought a]er vintage compressors in the industry. Overall, compression is an extremely complex set of nonlinear reacKons, and replicaKng them authenKcally is the only way to get real analog tone out of a digital model.Īt Slate Digital, we wanted to o er compressor plug-ins that truly responded with the same expressive analog character of real analog compressors.
![steven slate fgx steven slate fgx](https://theproaudiofiles.com/wp-content/uploads/2018/05/VMR-2.0-Web-Still.jpg)
Both of these profiles were di erent depending on the source file that was used. But a]er some study, the Slate Digital development team lead by Fabrice Gabriel, noKced that there were sKll limitaKons in some of these plug-ins in the way that they replicated the nonlinear reacKons that naturally occurred.įor instance, in one real analog compressor that we studied, the harmonic distorKon at the point of aSack was a di erent profile than that of the instance of release. Some more modern compressor plug-ins do add bits of harmonic distorKon to emulate the amplifiers and tube stages of analog compressors. And it is this unique blend of dynamic nonlinear anomalies that help give analog compressors their expressive and deep character. And there was a simple reason.īeyond the topology and Kming, analog compressors will exhibit dynamic nonlinear levels of harmonic distorKon, phase distorKon, frequency alteraKon, and noise. But many industry pros sKll claimed that analog compressors reigned superior in terms of sonic impact. In the early 2000's, plug-in developers began to release compressor plugins that included modeling of classic compressor topology and Kming. Simply making a digital model that includes the replicaKon of this topology and Kming can make a decent representaKon of the compressor's sound. First of all, there is the actual compression topology and the Kming of the aSack and release of the compression. There are some very interesKng things that happen in the circuit of an analog compressor that give each one of them their unique sound. But overall, I'm using the compressors to add more vibe, tone, presence, and punch to my mixes.
![steven slate fgx steven slate fgx](https://www.jrrshop.com/media/catalog/product/cache/1/small_image/600x600/a9170bbe7f8f7875705a4cc1234a04b5/s/l/slatefgx_2.jpg)
Other Kmes I'm barely moving the gain reducKon needle. SomeKmes I really want to reduce the dynamic range a lot, like on vocals or bass. I use compression in various amounts on almost all my tracks in a mix. I own dozens of analog compressors and even manufacture a compressor and dynamic processor called THE DRAGON. A tube opKcal compressor, with its photo cell gain reducKon element, results in a typically smooth and airy tone, making it an ideal match for vocals and bass. For instance, a classic VCA compressor, with a slow aSack and medium release, may be a good match for a snare drum due to its ability to add some punch.
![steven slate fgx steven slate fgx](https://live.staticflickr.com/2546/3996273875_45113a432f_n.jpg)
Many audio engineers choose a compressor model based on how they desire their audio track to sound in the mix. Some compressors are warm and fat, others are smooth and rich, and some are punchy and aggressive. Compressors are also used for the tone that their specific circuits impart on audio tracks. While the compressor in theory is a simple uKlity to modify and control dynamic range, it has proven to become much more than just that. The compressor has become one of the most crucial processors in modern recording.