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We think of it as a digital model of our ideal analog compressor: it could exist as an analog circuit but would be very expensive to build with physical analog electronic parts. Although it is not a model of an existing piece analog hardware, every component of its signal path is realizable in the analog domain. It also uses no digital-style filters (FIR filters).
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It uses no oversampling so there is no phase distortion or loss of high-frequency energy from anti-aliasing filters. Therefore its response time is immediate, it adds no extra delay to the signal chain, and it works great for processing real-time performance effects. On the spectrum of compressor tone that ranges from "vintage analog" to "pristine digital", this plugin sits at the extreme end of low-noise digital clarity, but it is different from other low-noise digital designs because it doesn't use digital look-ahead. It's my go to volume knob in my AUM "channel strip" of FX.Īt the heart of this compressor is a unique envelope follower design that makes it possible to compress the signal without creating distortion harmonics. I like the way NYCompressor can pull any signal up to a suitable level of "loud" without seeming to change it. I don't have the desire or patience to do a lot of mastering so I probably want compressors that change the input in some interesting way. detect) harmonic distortion and aliasing. I will probably buy the Blue Mangoo Compressor since I have almost every app tested just see what I can hear based upon the video results. Can you hear it in the products tested? Are they loud enough to be audible? Would you trade added aliasing for theīenefits of tube-based harmonic distortions? Don't you want to hear a bass through the Magic Death Eye?Ĭomplete tests of audio gear are always subjective. The issue of adding aliasing is probably worth more discussion related to our range of hearing. Sonic impacts on vocals, guitars, and basses? Do you want a compressor that is modeled on a "tube-based" hardware device and it's reputed Some of the apps tested are models of real hardware that add harmonics. (Maybe there's something out there already from years of using oscillator input/output specs to judge audio hardware). Hopefully someone will engage on the benefits of putting pure sine waves through audio gear and deciding what it can tell you about music production. If someone summarizes you're comments as "What are you talking about?" it's best to just take another swing at the ball. Maybe it has no real character at : not quite sure what your point was. You might like it and learn that pure engineering graphics don't tell you much about how something sounds. Some distortion is called sweetening and it adds warmth. adding "distortion" is a goal and not a curse. Guitar players love tube-based equipment for a reason. Think about those pros buying and coveting all that old tube gear and their clients (Sinatra, Adele, Tony Bennett) that appreciated the results. No real character difference by selecting this compressor for the final mix bus. You might buy a perfectly executed volume knob and wonder if it did anything at all to the mix because it sounds the same as it might by just changing volume on the master bus control. But many might hear what it did to that guitar solo and think it's worth 10 times what they paid for it to make the final product sound better. So, as a perfect gain riding knob its suspect. Are surprise, surprise it adds excess harmonics and does something almost magical to low frequencies (like tubes might do). The AUv3 model of that equipment costs us $25. Of the tested compressors, 2 are based upon studio gear that is highly coveted and sells for $5,000-7,000 They cover it because they put vocals through it and the client thinks they must be magicians to make them sound so good. It's assumed any changes would be bad and frankly, Sound Engineers do not covet a piece of hardware with hand-wound transformers and an 8 vacuum tube amplifier stage because it's a perfect volume knob robot. Put a single sine wave into a device and see if it comes out without any changes at all (except amplitude tweaks in this case).īut music is a complex mix of many frequencies so the the test doesn't show how it might change or impact this complex throughput.