Some Praise For U-He Presswerk!

[yellowmix]

i'm not sure how it models different types like VCA/Opto/VariMu

Load up the presets in the "Vintage" folder and you can see the different approaches. For example, the 1176 presets employ the nonlinear response and release adapt with a fast attack and release. The LA2A presets use the RMS window to simulate the opto lag with long attack and release times, and you'll notice the nonlinear control is also used. On the VariMu ones examine the really soft knee, low ratio, large RMS window for gentle bus compression.

If you haven't seen it, check out Dan Worrall's latest video on YouTube about Reaper's compressor. It's not just about ReaComp, it's a wealth of information about compression in general condensed into a half hour. And by the end of it you should be able to roll your own 1176 style presets.

[yellowmix]

Plus the pump feature in Waves H Comp

Do you mean punch? You can get this in Presswerk by abusing the nonlinear control. Bring it down and adjust the threshold so transients can pass through. It's not as extreme as H Comp but it's within a musical range.

the Peak->RMS detection knob in Kotelnikov

Presswerk's release adapt control does this automatically (treat transient and even content differently). But Kotelnikov gives you explicit values, and allows you to set it in the opposite direction, it seems.

Lots of cool ideas though and I hope they are implemented one way or another.

[4tune]

If you haven't seen it, check out Dan Worrall's latest video on YouTube about Reaper's compressor. It's not just about ReaComp, it's a wealth of information about compression in general condensed into a half hour. And by the end of it you should be able to roll your own 1176 style presets.

Just watched, deserves a link!

[Ploki]

thanks!

[jochicago]

As far as I know, Kotelnikov GE contains that feature—it's labelled Inertia in the interface.

If I understand it correctly (from the manual), the Inertia works in the manner of a program-dependent compressor (like an LA2A), tightening the timing grip in higher gain-reduction situations and relaxing the timing when doing less reduction.
https://www.tokyodawn.net/advanced-tric ... otelnikov/

The feature I mention "Non Lin" is for shaping the distribution of reduction without changing the timing, to orient it towards early release or late release within the window. In practice it might sound similar though, I haven't experimented.

I did test the behavior of many compressors and during the release cycle most tend to have a curve that releases ~65% of the grip pretty early, then the rest slower over the time of the release process. This doesn't change the compressor's release time, as the entire process still takes the same amount of time, it's just tilted to do most of it early during the same window.

Re: H-Comp - Do you mean punch?

Yes, I do

In general a lot of these ideas are one way or another possible on many compressors, and it boils down to how they've been implemented. Like TB BusComp and Kotelnikov have a percentage option for delinking stereo channels, when some compressors (like Presswerk) let you delink channels but its an on/off feature.

Ultimately, I can't really fault a compressor for not having a feature or not making a detailed knob of it. A compressor with too many knobs becomes difficult to use, while a compressor without knobs can be difficult to apply to different material. So every designer does their best to come up with a set of controls that are powerful but not overly complicated, with a focus on being musical. I think from that perspective Presswerk does a solid job of being feature-rich but not unapproachable, and the simplified interfaces are a phoenomenal addition.

[sleepcircle]

Yeah, it'll get you more or less the same results. Inertia and -Inertia's behaviours will orient the release (and to a less extent the attack) curves up or down, like you said.

[lukejwarren]

Just digging back into the demo of Presswerk. Man, it has some character when you need it to! Such a good tool.

[waltercruz]

Just watched, deserves a link!

Although the subject here is compression, this compression video has a sister video about EQ, same quality information from Dan Worrall. Worthy the watch too.

[Shiek927]

I love it and it's my go-to limiter for mastering! I mostly use the Slate Digital Everything Bundle for most everything, especially the FG-Stress, but Presswerk is magnificent for limiting and makes the track sound big, round and loud. There are equally great limiters out there right now like the Eventide Elevate limiter which is fantastic and clear; but for something rich and analog-sounding, Presswerk has become my go-to.

[Ploki]

yeah, the only thing is Presswerk generally needs a "finishing" limiter, true peak detection is hit or miss

[DCrown]

I especially like the fact it's not trying to be a 1:1 emulation

[Ploki]

I agree! It has its own extremely pleasant flavour

yeah, the only thing is Presswerk generally needs a "finishing" limiter, true peak detection is hit or miss

What even was that

[Lesha]

Regarding kick drum compression, how does Presswerk compare to NI Supercharger GT and Lindell 254E?

[DCrown]

Regarding kick drum compression, how does Presswerk compare to NI Supercharger GT and Lindell 254E?

Imo best comp for kicks is dbx 160.
I don't know or use NI, but I had it in the
past and didn't like their fx plugins and
don't use a lot of pa, so I can't tell.
Arturia and Waves have some decent 160.

[briefcasemanx]

But yeah I love Presswerk too.

I don't remember the last time I didn't put compression on the kick.

Kicks for me almost always get some sort of compression, sometimes multiple types (regular compression, parallel compression, saturation, limiting or clipping, etc).