Slate Digital Virtual Buss Compressors - Manual (Page 3)

Introduction
By Steven Slate
The
compressor
has
become
one
of
the
most
crucial
processors
in
modern
recording.
While
the
compressor
in
theory
is
a
simple
uKlity
to
modify
and
control
dynamic
range,
it
has
proven
to
become
much
more
than
just
that.
Compressors
are
also
used
for
the
tone
that
their
specific
circuits
impart
on
audio
tracks.
Some
compressors
are
warm
and
fat,
others
are
smooth
and
rich,
and
some
are
punchy
and
aggressive.
Many
audio
engineers
choose
a
compressor
model
based
on
how
they
desire
their
audio
track
to
sound
in
the
mix.
For
instance,
a
classic
VCA
compressor,
with
a
slow
aSack
and
medium
release,
may
be
a
good
match
for
a
snare
drum
due
to
its
ability
to
add
some
punch.
A
tube
opKcal
compressor,
with
its
photo
cell
gain
reducKon
element,
results
in
a
typically
smooth
and
airy
tone,
making
it
an
ideal
match
for
vocals
and
bass.
I
own
dozens
of
analog
compressors
and
even
manufacture
a
compressor
and
dynamic
processor
called
THE
DRAGON.
I
use
compression
in
various
amounts
on
almost
all
my
tracks
in
a
mix.
SomeKmes
I
really
want
to
reduce
the
dynamic
range
a
lot,
like
on
vocals
or
bass.
Other
Kmes
I'm
barely
moving
the
gain
reducKon
needle.
But
overall,
I'm
using
the
compressors
to
add
more
vibe,
tone,
presence,
and
punch
to
my
mixes.
There
are
some
very
interesKng
things
that
happen
in
the
circuit
of
an
analog
compressor
that
give
each
one
of
them
their
unique
sound.
First
of
all,
there
is
the
actual
compression
topology
and
the
Kming
of
the
aSack
and
release
of
the
compression.
Simply
making
a
digital
model
that
includes
the
replicaKon
of
this
topology
and
Kming
can
make
a
decent
representaKon
of
the
compressor's
sound.
In
the
early
2000's,
plug-­‐in
developers
began
to
release
compressor
plug-­‐
ins
that
included
modeling
of
classic
compressor
topology
and
Kming.
But
many
industry
pros
sKll
claimed
that
analog
compressors
reigned
superior
in
terms
of
sonic
impact.
And
there
was
a
simple
reason.
Beyond
the
topology
and
Kming,
analog
compressors
will
exhibit
dynamic
nonlinear
levels
of
harmonic
distorKon,
phase
distorKon,
frequency
alteraKon,
and
noise.
And
it
is
this
unique
blend
of
dynamic
nonlinear
anomalies
that
help
give
analog
compressors
their
expressive
and
deep
character.
Some
more
modern
compressor
plug-­‐ins
do
add
bits
of
harmonic
distorKon
to
emulate
the
amplifiers
and
tube
stages
of
analog
compressors.
But
a]er
some
study,
the
Slate
Digital
development
team
lead
by
Fabrice
Gabriel,
noKced
that
there
were
sKll
limitaKons
in
some
of
these
plug-­‐ins
in
the
way
that
they
replicated
the
nonlinear
reacKons
that
naturally
occurred.
Slate
Digital
-­‐
Virtual
Buss
Compressors
3