The plugin is available for Windows 7 or higher for both 32-bit and 64-bit. Use it if your bus has loud but inconsistent transients that need preserving. Similarly, the Range knob controls the maximum level of compression the plugin applies. Note that it’s not a brick-wall limiter.ĭensity MkIII features six “timing” modes, setting the attack and release time to preset amounts found in esteemed hardware compressors. Similarly, you can engage a limiter mode, which has a higher compression ratio. The plugin lets you target the incoming audio signal or an external side-chain source by flipping the SC switch. And similarly, in M/S mode, you can process the mid and the side signals separately. In L/R mode, the left and right channels are processed separately, whereas they are linked in Stereo mode. The plugin features three processing modes: L/R, Stereo, and M/S. You might find it handy for compressing sub-mixes. While the sound may not exactly be akin to analog, the interface is designed to look similar to hardware bus compressors. Variety Of Sound has developed many free plugins, and their Density MkIII is one of the most valuable plugins. Variety of Sound density MKIII (Mastering Compressor)ĭensity MkIII is a smooth bus compressor ideal for gluing groups of instruments. And the fact that it’s free is wonderful. This software will allow you to “glue” the mix and influence the transients in the best way. But if you learn how to use it, it can become a powerful tool for bus compression. Īnalog Obsession’s BUSTERse plugin may seem a bit complicated at first. Īnalog Obsession BUSTERse is available for Windows 7 or higher and macOS 10.9 or higher. In addition, there are also separate Mix and Boost knobs. For example, you will find a Tilt control that will boost the high frequencies and cut the lows, or vice versa. On top of that, the Sidechain section has another set of TR controls to help you influence the transients a bit more. For example, there is a High Pass Filter here and two Mid and HF knobs. You can use it to influence how the compressor perceives frequencies. The Sidechain section makes your work with the plugin most exciting. And in addition, there is an Xformer mode to get more saturation. Also, here is the Turbo, which will bring the plugin to work more similarly to the original unit. In particular, the first Main will work like the usual bypass. Īt the top right of the plugin window, you will get three buttons that are responsible for mods. This parameter can be very helpful if, for example, you want to do a parallel compression for drums. Unlike many paid plugins, the developers have also implemented the Mix knob, which implies selecting the ratio of Dry and Wet signals. In particular, there is the usual Auto Release, Ratio from 1.5 to 10, Attack from 0.1 to 30 milliseconds, Make-Up Gain, and Threshold control. If you already have experience with SSL-style compressors, then the set of basic settings will not discourage you. Its main feature is that, in addition to the compressor settings, it has many additional features that will help you affect the character and dynamics even more. Such is the free software BUSTERse from Analog Obsession. But now, there are enough plugins that emulate its operation. The SSL Bus Compressor is a very popular equipment for this, which was part of the console. Now, what do you use the bus compressor for anyway? First, it allows you to shape transients, and second, to get the effect of “gluing” the mix as a whole. Analog Obsession BUSTERse (SSL Compressor)Īnalog Obsession’s BUSTERse plugin can be your main tool for “gluing” mixes. TDR VladG Molot (Transparent Compressor) The 11 Best Free Compressor Plugins 2024 1. The CLA-2A is often used for vocal and bass compression, as it can help add warmth and thickness.1.11 11. bass compression: The CLA-3A is often used for electric guitar compression, as it can help control dynamic peaks and add clarity and detail to the performance. overall warmth: The CLA-3A has a slight mid-range emphasis that can help bring out the detail and clarity in a mix, while the CLA-2A has an overall warmth and smoothness that can help thicken up a sound. This gives the CLA-3A more flexibility in terms of how much compression is applied to the signal. variable ratio: The CLA-2A has a fixed compression ratio of 4:1 (but the ratio will fluctuate depending on the source), while the CLA-3A has a variable ratio that can be adjusted from 2:1 to 10:1. This gives the CLA-3A a faster attack time and a more aggressive sound, while the CLA-2A has a slower attack time and a more gentle sound. electro-luminescent gain reduction: The CLA-2A uses an opto-gain reduction element, while the CLA-3A uses an electro-luminescent (EL) gain reduction element.
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