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Free Compressor VST Plugins ( UPDATE) – Bedroom Producers Blog
This time, quite a few of the compressors sounded equally good, but the Platinum Digital still sounded the worst, with the Classic VCA sounding the second worst again. I believe the Studio VCA sounded the cleanest, in that it colored the audio the least, while the Vintage Opto and the Vintage VCA added a subtle but nice mid-range bite to the guitar tone.
The Platinum Digital and the Classic VCA, however, really struggled to keep up big time, even though I used a really fast attack and the fastest release.
Very good performance and recording. All the compressors are set to 12 milliseconds for attack, 51 milliseconds for release, 2 to 1 ratio, and a medium knee if there is a knee control. They are all doing about 5 to 7 db of gain reduction. I did notice that some compressors changed the tone of the acoustic guitar very slightly. For this particular bass track, I have set all the compressors to 8 milliseconds for attack, milliseconds for release, 4 to 1 ratio, and medium knee if there is a knee control.
All compressors do the same amount of gain reduction. To my ears, the clear winner is the Platinum Digital. It sounded the most natural, most transparent and the cleanest. The drum bus is always my favorite thing to test compressors on. First, take a listen to the uncompressed version:. We are going to hear how these different compressors will react to the drum transients. All the compressors have 50 milliseconds for attack, fastest release, 4 to 1 ratio and a hard knee if there is a knee control, and they are all doing 4 to 6 db of gain reduction.
The rest of the compressors are very close. They are all slightly different and I can see someone liking any one of these over the others. I really like that it kind of chops off the snare transients a bit like a clipper and in a very pleasantly aggressive way, while maintaining the clarity and punch of both the snare and the kick.
This really marries the snare and the kick, and it glues the whole drum kit together. One of the things mixing engineers love to do when mixing rock or metal drums is to use a compressor to smash the drum rooms, and not every compressor works well for that. Below is the unprocessed drum room mics recording from the same performance as the one above:. As you can hear, this is a very large drum room with a really awesome room sound. The gain reduction is about 10 to 15 db.
I think we have a very clear loser here, which is the Platinum Digital. In the meantime, I think all the other 6 compressors sounded really awesome and they all have their own flavor. The Studio VCA is exceptionally clean, and handles the transients, especially the ones from the kick, really well. My favorite would be the Vintage VCA because it clips the transients the way I like, and I like the mild distortion you get from it, but all the other compressors, except for Platinum Digital, are good options for smashing the drum room.
After testing all these compressors out, I came to three conclusions. One is that, they are all really good. Whether you are a professional audio engineer or a songwriter, these compressors should be able to satisfy a lot of your needs. Third is that, damn that Studio VCA is such a good compressor on almost everything. Good job Apple! Hopefully you now have a better understanding of these 7 compressors in Logic Pro X.
Be sure to check out my YouTube channel if you are into audio production! I publish helpful videos on audio production every single week. Feb 4 Written By James Zhan. Platinum Digital. Studio VCA. Studio FET. Classic VCA. Vintage VCA. The Ratio parameter is a percentage of the overall level; the more the signal exceeds the threshold, the more it is reduced.
A ratio of means that increasing the input by 4 dB results in an increase of the output by 1 dB, if above the threshold. The Attack and Release parameters shape the dynamic response of Compressor. The Attack parameter determines the time it takes after the signal exceeds the threshold level before Compressor starts reducing the signal.
Many sounds, including voices and musical instruments, rely on the initial attack phase to define the core timbre and characteristic of the sound. When attempting to maximize the level of an overall mix, it is best to set the Attack parameter to a lower value, because higher values often result in no, or minimal, compression. The Release parameter determines how quickly the signal is restored to its original level after it falls below the threshold level.
Set a higher Release value to smooth out dynamic differences in the signal. Set lower Release values if you want to emphasize dynamic differences. Important: The results of your settings for the Attack and Release parameters depend not only on the type of source material but on the compression ratio and threshold settings.
The Knee parameter determines whether the signal is slightly, or severely, compressed as it approaches the threshold level. Setting a Knee value close to 0 zero results in no compression of signal levels that fall just below the threshold, while levels at the threshold are compressed by the full Ratio amount.
This is known as hard knee compression , which can cause abrupt and often unwanted transitions as the signal reaches the threshold. Increasing the Knee parameter value increases the amount of compression as the signal approaches the threshold, creating a smoother transition.
This is called soft knee compression. As Compressor reduces levels, the overall volume at its output is typically lower than the input signal. You can adjust the output level with the Make Up knob. While Peak is technically more accurate, RMS provides a better indication of how people perceive the signal loudness. If you hear any distortion, turn off Auto Gain and adjust the Make Up knob until the distortion is inaudible.
Vocal Compression: Learn How to Mix Like the Pros | Logic pro x, Logic pro, Apple logic pro
As a result, many engineers are frwe to a mixing and production workflow that values dynamic range and headroom — the art of Http://replace.me/1896.txt Staging, in other words. Varimoon also introduces harmonics when compression begins. In this situation comprsssor the compressor have already smoothed out some of the peaks that the limiter is supposed to work on? The жмите are then adjusted to dB on a per-track basis, rather than as individual regions. Ro on February 25, pm. RMS, thank you for your clarification of these terms. Who knows!
Top 10 Free Compressor Plugins — Sage Audio
It isn’t “RMS compression”. Opinion varies on what the gxin levels are for good mixing, but most solutions fall between dBFS and dBFS, and you can also take different views of больше на странице this is average or peak levels. David Nahmani Posted November 1, Yeah, I was gonna shout out airwindows. The Knee parameter determines whether the signal is slightly, or logic pro x compressor auto gain free, compressed as it approaches the threshold level. Or a combination of both peak and RMS?