![]() We might not have the space, bandwidth, or frankly, the attention span to go into the details of circuitry, but we’re going to leave you with what this writer believes are the essential takeaways in so doing, we shall aim to transmute this history lesson into a simple goal: to make your next compression decision a more informed one. Specifically, four kinds of analog compressors. ![]() I maintain it’s important to understand these differences, even here, in our digital world, for understanding them helps us make quicker, more efficient, and ultimately better choices. I know I certainly did, so I aimed to educate myself on their differences. If you’re new to the game, you’ve probably stumbled around these kinds of compressors, played with some knobs, and hoped for the best. ![]() How about the stock compressor plug-in in a DAW like Logic Pro? It emulates all sorts of compressors! FET? VCA? Opto? Some of them aren’t even technically compressors they’re limiters-or even leveling amplifiers! You’ve no doubt noticed that these fancy compressors react differently heck, some of them don’t even have attack and release controls like the earliest compressors. Many modern GUIs, often displaying the signal as it hits the threshold in a sort of easy-to-read graph, help solidify this perception.īut what about those fancy compressors we come across sometimes? Those emulations of 1176s, LA2As, Fairchilds, DBX 160s, and the like? What about iZotope’s vintage compressor, which seems to behave differently? If you've only operated compressors in plug-in formats, you'd be forgiven for thinking their operation is a matter of simple math-a bunch of binary acting in computerized concert. It’s more of a history lesson, with some applicable takeaways to help you in your modern mixing practice. Yes, another article on compression! But this one’s a little different.
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