We covered eq pluginsin the "Sony vs. Pultec" thread, and got good info. HOWEVER, some people who contributed to the thread suggested that they felt the compressor pluginsavailable for Pro Tools are not yet up to snuff. So let's have it! Who is using what and what are the varying opinions on the compressor plugins Anybody had the time to A/B directly against the hardware versions?
Let the bloodshed begin. Doc.
Comments
Thanks for your insights Pan. I would agree that that plug-in c
Thanks for your insights Pan. I would agree that that plug-in compressors are grainy when pushed hard, though I have used this to good effect (on wide-spaced drum OHs for a live recording). I generally don't push my software comps all that hard. In fact I usually compress anything that I know will need compression (bass, vox) with my Valley People 610 while going to tape (er, hard drive).
I find myself doing less compression because of havingplug-ins don't compress going to tape, doing small amounts of compression in the mix (1-3 db on most stuff). I don't compress most of my drums except kick, letting my natural dynamics come through (the master bus compression helps smooth things out).
For master bus I have to be completely candid and admit I run out to the aforementioned Valley People. I am liking what solid state circuits are doing to my mix! I realize that I am running against the herd on this one, as many people love their finalizers/maximizers.
Cheers, Doc.
The Waves Ren Compressor is awesome. I use this more often than
The Waves Ren Compressor is awesome. I use this more often than a lot of analog compression. I love the "crunch" preset on rap vocals. The stock digi compressor is dope as hell too, people sleep on it all the time. The McDsp stuff is awesome too. The 1176 and LA2A is less useful, but I do really like the Fairchild on my background vocal chain.
All softwarecompressors I heard, produced "grainy" artifacts in
All softwarecompressors I heard, produced "grainy" artifacts in extreme settings. Most hardwarecompressors are more sensible for too much - you just cannot push it too hard without loosing the real punch, while softcomps can cope with transients by lookahead and you can push and push and it still seems not to be too much. They distort too, but in the chaos of analog compression is more magic than in the tight algorithms of a finalizer IMHO.
I really love the bombfactory-series on TDM, 1176 and LA2A. You just get not the same SMACK! from software, if you give it that extra push over the cliff. It's more of a ZZACK¡.
And the silky distorsion of the LA2 is slightly harsher in its soft-dependant.
But in the end, some L2 or loudness-maximizer just polishes over the mix anyways, nivelling all those nice little nuances making it LOUD(and harsh see last Chili-Peppers album).
I see more of a problem in the summing before compressing the drumgroup for example. Well, and it's not so comfortable to work with splitted signals - dreaded latency.
Niko