KVR Audio

fjolle · Post by **fjolle** » Sun Dec 28, 2008 2:31 pm

Is the knee going to be variable or fixed?

andy-cytomic · Post by **andy-cytomic** » Sun Dec 28, 2008 3:31 pm

fjolle wrote:Since SSL is used as an inspiration i suppose this is an ok question to ask: Is the knee variable or fixed?

The below is from the upcoming press release. There is no adjustable knee, the compressor just works with a minumum of fuss. I have been very careful to make it have a minimum of controls possible, I would even prefer to remove the wet mix knob, but some people like parallel compression so I've left it. The range knob imho works way better for a natural compression sound than backing off the compression by mixing in some dry signal.

= Parameters =
Threshold (dB): 0 to -40
Range (dB): 0 to Full (-oo)
Makeup (dB): 0 to 40
Attack (mS): 0.01, 0.1, 0.3, 1, 3, 10, 30
Ratio: 2, 4, 10
Release (S): 0.2, 0.3, 0.4, 0.6, 0.8, 1.2, Auto
Compression In (Switch): On, Off
Mix (%): Dry 0 to Wet 100
Peak Clip (Switch): On, Off
Sidechain HP (Hz): Off, 20 to 2000
External Sidechain In (Switch): On, Off

Andrew Simper

Dean Aka Nekro · Post by **Dean Aka Nekro** » Sun Dec 28, 2008 4:12 pm

Thank you Andy for taking the time to put the loop through, i appreciate it mate and i am very impressed with all the examples i have heard whether subtle or not so subtle, especially the 'awesome-force-DrumsTestAtkComp', as im not into electronic/dance type stuff i can still appreciate the sounds and i liked the way it was workin on the 'NEElectrific110Comp' Zappy type sounds and of course that kick of Daniels, in a club i imagine that would be a proper ribcage rattler

It was infact Toontrack's EZdrummer which i used, sorry for the wires crossed man, my mistake

. It was using the default kit but tweaked a bit and it uses the plastic beaters on the 22" GMS kick drum and the GMS 13" Piccolo Snare undampened, and i really like the nice ring that snare has (plus its great for blastbeats as cutting through lots of high-gain and mid-range razor blade sharp guitars is a must for me). I like the way the compressor really grabbed onto that ring and pulled it right up, so i could see myself using this on individual tracks and/or sub-groups alot.

Anyway enough of my babble, nice work and all the best to you

Dean

meloco_go · Post by **meloco_go** » Sun Dec 28, 2008 4:17 pm

I have read Andy Wallace interview where he calls make up gain amplifier as "noisy" is that characteristic modelled too?

andy-cytomic · Post by **andy-cytomic** » Sun Dec 28, 2008 5:05 pm

meloco_go wrote:I have read Andy Wallace interview where he calls make up gain amplifier as "noisy" is that characteristic modelled too?

Considering the same company that sells the hardware of my model spends much time and money on developing circuits, and adding extra circuit components to reduce all possible noise there is a simple answer: No. It's a mastering bus compressor, noise isn't good. You can add some noise yourself pre compressor if you don't have much noise in your recordings to bring out some extra grit.

In the synths I have coming out through FXpansion, the D-CAM: Synth Squad, I have done basic models of self noise and power supply noise to the state variable filters, the moog modeled filter, the ota core filters, all oscillators including pitch, pulse width, etc, analog modeled chorus, formant filter. The noise is an important part of the synths so there is a knob: Analog Noise, which you can adjust to your needs.

Andrew Simper

living sounds · Post by **living sounds** » Sun Dec 28, 2008 5:10 pm

Why is there no 0.1 release setting like on the hardware unit? I also thought I was hearing even faster release than that on your examples.

djanthonyw · Post by **djanthonyw** » Sun Dec 28, 2008 5:10 pm

andy_cytomic wrote:My protection is a serial number, not challenge and response based on some operating system heuristic. It will never time out, or stop working for any reason to do with you changing hardware in your system. You will be able to authorise on multiple machines and you will have the license to use it for a single composition at a time, even if that spans multiple machines (eg using a second machine for extra processing via some vst send / return network plugin).

Your serial number will be stored for you by me in a database as well as emailed to you. Feel free to save it to a file on a usb key along with the installer so you can install it wherever, but only for your personal use.

Thank you for being a level headed developer sir!

Alien Leg · Post by **Alien Leg** » Sun Dec 28, 2008 6:17 pm

What exactly does the Range knob do?

Btw I like it that you keep it simple! One of my favourite compressors, the Voxengo Marquis, is often too disctracting with it complicatedness.

Screenshots please!

andy-cytomic · Post by **andy-cytomic** » Sun Dec 28, 2008 6:26 pm

living sounds wrote:Why is there no 0.1 release setting like on the hardware unit? I also thought I was hearing even faster release than that on your examples.

Trust your ears. I'm not sure why they labelled it as 0.1 ms. Analog gear sometimes isn't all that precise, but the following numbers are based on a 2.2 multiplier of the time constants Tor = (R*C):

= release ssl =
label {0.1, 0.3, 0.6, 1.2}
actual {0.18612, 0.27918, 0.57904, 1.2408}

= release cytomic =
label {0.2, 0.3, 0.4, 0.6, 0.8, 1.2}
actual {0.18612, 0.27918, 0.39292, 0.57904, 0.8272, 1.2408}

So as you can now see, but already heard, it's the same on the fastest setting.

Andrew Simper

andy-cytomic · Post by **andy-cytomic** » Sun Dec 28, 2008 6:37 pm

Alien Leg wrote:What exactly does the Range knob do?
Btw I like it that you keep it simple! One of my favourite compressors, the Voxengo Marquis, is often too disctracting with it complicatedness.
Screenshots please!

The Range knob limits the total compression applied to give a more natural sound. Here is an example with a slow attack fast release. First off dry, then range at -60 dB, then dry again, then range at Full:

http://www.cytomic.com/AudioExamples/Ac ... 10Re01.mp3

As you can hear when the range is at full (which is what many compressors have it without an option to change it) you get the attacks choked off and a bad sounding compressor. The range at full is good for limiting applications or if you want loads of pumping using an external sidechain signal of a kick drum on a synth.

Andrew Simper

Uncle E · Post by **Uncle E** » Sun Dec 28, 2008 7:23 pm

dusted william wrote:Are you saying that the actual plugin is on the Dongle?

If I wanted to transport my dongle based plugs to my buddies studio, I still have to load it up on his machine.

You can point Cubendo to find plug-ins on any folder, including a USB drive. I carry all mine on a separate drive, not on the iLok itself.

Anyway, sorry for having gotten the conversation off track!

fjolle · Post by **fjolle** » Sun Dec 28, 2008 9:25 pm

Thanks a bunch for the information, saved me a few other questions

I see there is no auto makeup-gain. That sort of feature usually mess up, and i always prefer to use the meters and my ears. Sadly, many plugin-compressors don't feature a decent metering system.

I always enjoyed the metering on UAD's precision series, as an example of what i call decent metering. They are extremely easy to read and use. I know they don't look like "vintage" stuff, but (IMHO) their usability just blows away everything else.

The range knob sounds more and more interesting as an "easy" way to control the compressor; I'm still looking forward for a demo-version when you get that far. And also looking forward to see how you've handled things like metering

andy-cytomic · Post by **andy-cytomic** » Sun Dec 28, 2008 9:39 pm

fjolle wrote:I always enjoyed the metering on UAD's precision series, as an example of what i call decent metering. ... And also looking forward to see how you've handled things like metering

I have a compression amount needle that is very fast at updating and models the physics of the original. For me the action of the needle works fantastically for compression. There is also a peak clip led, which when the peak clip is on, lights very quickly when it starts engaging, so you just push the makeup until it just starts twinking and that's it, nothing more to do. I prefer to keep things minimal and elegant to keep your mind focused on only what you need to get the job done. Hopefully once you get a feel for it you will be happy with getting many jobs done quickly and easily with the comp.

fjolle wrote:The range knob sounds more and more interesting as an "easy" way to control the compressor;

It definitely is, you can dial the most stupid setting and then back it off till it's what you want. When you use the range for mastering it's great since you know it will only ever compress your signal a maximum amount, and in a natural sounding way.

Andrew Simper

an-electric-heart · Post by **an-electric-heart** » Sun Dec 28, 2008 9:39 pm

Chopper wrote:
K-Slash wrote:
awesome-force wrote:[...]just the Stillwill ones what are pretty much just toys[...]
You gotta be kidding... Stillwell = toys ?

Come on man ...
the Rocket compressor is the best software compressor I've ever seen.

Don't get me wrong, they are pretty good, It's just that they have a cartoonish quality to them, they are like caricatures of a compressor, just no class or subtlety

FIGHT! FIGHT! FIGHT!!! ha ha

andy-cytomic · Post by **andy-cytomic** » Sun Dec 28, 2008 9:44 pm

awesome-force wrote:just the Stillwill ones what are pretty much just toys...
Don't get me wrong, they are pretty good, It's just that they have a cartoonish quality to them, they are like caricatures of a compressor, just no class or subtlety FIGHT! FIGHT! FIGHT!!! ha ha

From what others have told me, Stillwell are doing better plugins than lots of other people out there, and they are at a reasonable price. I look forward to having the time to check out some of their plugins in depth in the future.

Andrew Simper

Cytomic 'The Glue' Compressor