#Sound compressor for mac professional

The clean, predictable response of the lowвЂ‘distortion, Blackmer VCA gainвЂ‘reduction element is clearly part of the appeal: 'AВ Dbx 160 works really well if you just want to protect the tape,вЂќ comments Ed Cherny, for example. Where transparent level control is required, the Dbx marque is aВ popular choice, with engineers such as Steve Churchyard, Humberto Gatica, Eddie Kramer, Ed Cherny, and Mike Clink all specifically nameвЂ‘checking the Dbx 160вЂ‘series processors. There's no shortage of conflicting opinions from those in the know, but certain compressors do seem to crop up aВ great deal more than others.

Let's start where the money's at in most productions: those allвЂ‘important vocal parts. I'll also look at aВ few of the design features and sideвЂ‘effects that adapt the different processors to these tasks, as well as talking about some of the ways they're actually combined in realвЂ‘world sessions. In this article, then, I'll try to shed light on which classic compressors tend to be used in which processing situations, based on my ongoing research into the techniques of 'AвЂ‘list' engineers and producers (see the box at the end of the article for their backgrounds). Seasoned studio jockeys can bring aВ wealth of past experience to bear on the task of choosing the right model of compressor for any task, but those without the benefit of such an apprenticeship can now find themselves adrift in aВ sea of complex possibilities, with little but guesswork and experimentation to assist them. That's great news in some ways, but it also presents many recording musicians with aВ significant problem.

#Sound compressor for mac professional

For years, such debate remained the preserve of those few lucky souls in professional studios who had the opportunity to compare aВ range of such rare and expensive hardware, but recent advances in the DSP emulation of those same units has brought the topic slap-bang into the mainstream. As you venture beyond generalвЂ‘purpose balance discussions, though, the subject of compression becomes shrouded in mystique, particularly with respect to the qualities and quirks of the most famous hardware compressors, many of which are prized as much for their tonal qualities and audio sideвЂ‘effects as for their ability to control dynamic range. While the practicalities of setting up compressors can take aВ little time to get your head around to start with, there is still aВ certain logic behind the process, as I've tried to demonstrate in preceding pages of this issue of SOS. Whether they truly recreate the real thing or just give you aВ hint of their flavour, there's now aВ bewildering number of classic compressor emulations in software.ДЄt its most basic level, compression can be seen merely as aВ labourвЂ‘saving solution to mix-balance problems: if you control the levels of an overly dynamic instrument, it becomes easier to find aВ consistent fader setting for it. But whether hardware or software, which is right for which job?

Now that we have digital models and dynamic convolution technology, we're spoilt for choice when it comes to classic compressor flavours.