Sound signals are far too complex to be handled by a single device. There are manufacturers telling you 'this is the only compressor you'll ever need'. On complex sources they tend to produce a 'pumping' sound, distort or just make your music lifeless. But when it comes to compressing an entire sum signal, a lot of digital compressors turn out to be unusable, many of them were made to process single-track signals only. source : Jorunal on the art of Record Productionĭynamics processors are essential when recording, mixing and editing music. The 1176 and the Empirical Labs Distressor are both examples of FET compressors. FET compressors also tend to colour the signal somewhat due to the FETs non-linear transfer function (White 2000). ![]() Like the VCA, FET compressors can achieve very fast attack and release times. Examples of VCA compressors include the dbx 160, the SSL console compressorsand the Neve Portico 5043.įET Compressors use a Field Effect Transistor. As Paul White states “In very general terms, a well-designed VCA compressor will provide the most transparent gain reduction, which is ideal for controlling levels without changing the character too much” (White 2003). VCA compressors are considered to be the most transparent of the hardware-based designs. In simple terms, more level, more voltage more gain reduction. When using a VCA in a compressors circuit the control voltage is derived from the input signal and any gain reduction is related to this level. These compressors use a transistor based voltage-controlled amplifier. VCA Compressors are arguably the most common design. The classic UA LA-2A and modern Tube Tech CL-1B are examples of popular Opto compressors. As noted by Izhaki (2008) despite the fact that light is used, Opto compressors are slow to respond to rapidly changing musical dynamics making them a poor choice if quick clamping on transients is required. A bulb, illuminated by the level detection circuit, shines on a photo-resistant material to control the amount of gain change. Optical compressors (more commonly known as Opto) use a light and a light sensitive resistor to alter gain (Case 2007). The classic Fairchild 660/670, Altec 436 and modern Manley Variable Mu are all examples of compressors that use valves for gain reduction. This can make them a suitable choice for drum busses and full mixes when preservation of transients is desirable. ![]() Due to the use of a valve for gain reduction, Vari-Mu compressors are not as fast as the transistor-based units. Vari-Mu compressors do not have a ratio control and increasing amounts of gain reduction are achieved with louder levels (Izhaki 2008). As pointed out by Case (2007) a circuit is sent to a valve by the level detection unit to alter its gain, which results in compression of the audio signal. Unlike some designs, which simply have a valve in the circuit, a Vari-Mu compressor uses the valve for gain control. Hardware Compressor Types And Characteristics Tube (valve) compressors are more typically know as Vari-Mu. An in-depth analysis of the 1176LN's "personality" allowed Universal Audio to methodically reproduce those results within a plug-in architecture, and now offer that same character to computer-based audio workstations. Originally designed and built during the 1960's, the 1176LN was the first to use a field effect transistor (FET) as a voltage-controlled variable resistor, and that innovation was the key to the product's unique character. The reputation of this analog classic is well known throughout the audio industry.
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