Tokyo Dawn Labs - Compressor Roadmap 2014

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Now that we've released SlickEQ GE, it's time to sketch some plans for the next months.

We're currently working on FBCompIII, and had a discussion together with Vlad on how the concept should develop. We sit on a gazillion ideas, concepts and experiences, so we began working on a "jack of all trades".. ..until we dropped the whole thing and decided to split the concept and give them more each part more conceptual focus. :)

FBCompIII is purely focussing the mastering use-case. This allows us to reach for a high audio quality and relatively low UI complexity. Latency and CPU performance is clearly secondary. As with version II, it will still remain an option for detailed compression during mixing, but not primarily. The main UI "flow" is very similar to FBCompII.

[fancy name for a compressor] on the other hand, is designed for tracking/mixing. Although it will still use FBCompII's proven processing architecture, no (or very low) latency and high efficiency are key. This compressor is meant to colour, shape, massage, squeeze & squash with greatest flexibility and usability, while still offering high fidelity sound. We'll probably have some sort of crest control here as well. It's no question that this plugin will have a distinct "Molot" touch.


We plan releasing both during the year!

Let us hear your thoughts about a dedicated tracking/mix compressor. Maybe there's something we haven't thought about! Let us see your xmas wishlist! :)
Fabien from Tokyo Dawn Records

Check out my audio processors over at the Tokyo Dawn Labs!

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:party:

I trust your ears and vision so no special request from me, apart from maybe a super high quality mode for the [fancy name for a compressor] ? I bet it will sound great as is, but given what you can achieve when CPU efficiency isn't #1 priority, I want that option !
Computer musician / Ableton Certified Trainer / Mastering engineer
.com
3OP

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Separate tracking comp seems great, only thing I'd opt for is ease of use, I am still too stupid to really understand and use FBCII :(. So a focus on the classic compressor controls and maybe, if you want to take it further, an extra tweaking section with sensible default settings. I think the reasons why vintage comps are still so popular is not only the sound but also the simplicity: 2-5 controls, that's it, and now have fun :-)

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I totally agree with you guys and would even go further and say that an over-boarding amount of options is more a sign of conceptual weakness than added value. It's a difficult balance for a developer, though (at many levels).
Fabien from Tokyo Dawn Records

Check out my audio processors over at the Tokyo Dawn Labs!

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Will you be releasing a fix for the FBCII crash bug that is currently affecting Logic Pro X users?
Simon Morrison • Audio Architect • Mastering Engineer • Music Technologist
[ www.MorrisonStudios.com ]

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No, probably not. We're using a totally different code-base and build processes for all new plugins. This is reflected in SlickEQ's numerous generic features (preset management/AB, undo, etc) and great stability, but also greatly improves development.

In this context, it doesn't make much sense for us to dig into 2-3 year old code. SlickEQ and later products are/will be much, much easier for us to maintain.

Version III will run in logic X (of course). And offers all great stuff known from version II with greater musical range and a substantially improved sound. CPU load will increase, but why we'll offer a special tracking/mix oriented compressor, too.
Fabien from Tokyo Dawn Records

Check out my audio processors over at the Tokyo Dawn Labs!

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Vari-mu. Preferably - optional and configurable. Is it possible within a feedback architecture?

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Give us the ability to do something weird ala 'all buttons in mode'

It doesnt have to emulate that mode, just something reminiscent of using the compressor in a weird(unintentional) way to get a weird(unintentional) effect

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FabienTDR wrote:an over-boarding amount of options is more a sign of conceptual weakness than added value.
Totally agree. The more options the less intuitive and, paradoxically, the less versatile it gets.

Yet I'm about to suggest an additional feature that would be so useful IMHO : tilt/emphasis/de-emphasis built-in circuit.
I guess there will be the usual LPF Side-chain and Dry/Wet in both compressors too ? I've realized that I barely never ever use "full" compression.
Computer musician / Ableton Certified Trainer / Mastering engineer
.com
3OP

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nilhartman wrote: I guess there will be the usual LPF Side-chain and Dry/Wet in both compressors too ? I've realized that I barely never ever use "full" compression.
+1, f*** vintage designs here, a mix button is mandatory for comps nowadays... :D
Design-wise I really like the slickEQGE's concept of having the important controls in a bigger main section at the top and the "special sauce" in the area below. It allows for fast working in the standard situations but offers more flexibility if needed. Awesome!
Different compressor modes (like the different curves in slick) would be killer.
But whatever it will be, I'm looking forward to it :hyper:

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For myself as a mastering engineer it would great to see the FBCompIII function similar to the Weiss DS-1 and GML 8900....but maybe with some colour options in the cause you need to add a bit of mojo to the track.
Michael Marra / Mastering Engineer
João Carvalho Mastering
http://mikemarramastering.com

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Yes mmarra, that's the plan for FBCompIII GE

It builds on a ridiculously elaborate "audio engine". A worst case signal processed with the most aggressive settings (peak only, 0.02ms attack, 10.0ms release) produces *zero* aliasing by-products over a band bigger than the full audible bandwidth (0-21k) and within a range much greater than the audible threshold (-125dB). At the same time, the compressor *really* reaches 60% of its desired GR value after exactly 0.02ms. The compressor offers a very detailed amount of control, but (harmonic) distortion values are extremely good, and the full control path is absolutely continuous.

The control concept is similar to the offers by Weiss/GML indeed. ;)


The GE version will have a quality mode called "insane" and a few more features:

- New compression "TONE" control. This is effectively a ratio parameter, a frequency dependent ratio. On a first touch, it sounds very similar to a SC filter, but it really controls the ratio.. ..and acts like it!
- New compression "TIMBRE" control. Does exactly what it says, it manipulates the distortion pattern the compressor would generate anyway. This features controls the timbre of compression, not the makeup/output stages.
- Release gating. Makes release time almost infinite under certain circumstances.
Fabien from Tokyo Dawn Records

Check out my audio processors over at the Tokyo Dawn Labs!

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FabienTDR wrote:- New compression "TONE" control. This is effectively a ratio parameter, a frequency dependent ratio. On a first touch, it sounds very similar to a SC filter, but it really controls the ratio.. ..and acts like it!
- New compression "TIMBRE" control. Does exactly what it says, it manipulates the distortion pattern the compressor would generate anyway. This features controls the timbre of compression, not the makeup/output stages.
- Release gating. Makes release time almost infinite under certain circumstances.
Nice !

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I love the idea of the sound of a tracking compressor using your skills.

The new 'theme' appears to be saturation as part of the compression. Slate Digital call it 'dynamic non-linear artifacts' - "DNA" - catchy!

Personally I like simple processors that sound good - as opposed to jack of all trades - masters of none...that you get bogged down with and dont fully understand how to use unless you are a major expert...

So I would say - basic modes - VCA, FET and Opto - people understand...then - a bit like your lovely EQ - saturation and perhaps output modes...I think you guys could knock it out of the park!
Presets for u-he Diva -> http://swanaudio.co.uk/

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FabienTDR wrote:Yes mmarra, that's the plan for FBCompIII GE

It builds on a ridiculously elaborate "audio engine". A worst case signal processed with the most aggressive settings (peak only, 0.02ms attack, 10.0ms release) produces *zero* aliasing by-products over a band bigger than the full audible bandwidth (0-21k) and within a range much greater than the audible threshold (-125dB). At the same time, the compressor *really* reaches 60% of its desired GR value after exactly 0.02ms. The compressor offers a very detailed amount of control, but (harmonic) distortion values are extremely good, and the full control path is absolutely continuous.

The control concept is similar to the offers by Weiss/GML indeed. ;)


The GE version will have a quality mode called "insane" and a few more features:

- New compression "TONE" control. This is effectively a ratio parameter, a frequency dependent ratio. On a first touch, it sounds very similar to a SC filter, but it really controls the ratio.. ..and acts like it!
- New compression "TIMBRE" control. Does exactly what it says, it manipulates the distortion pattern the compressor would generate anyway. This features controls the timbre of compression, not the makeup/output stages.
- Release gating. Makes release time almost infinite under certain circumstances.
This is going to be amazing...probably the best mastering compressor ever as I love the FBCompII for mastering work as it is so clean
Michael Marra / Mastering Engineer
João Carvalho Mastering
http://mikemarramastering.com

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