Icons: The Compressor Collection by SOFTUBE

[Selfik]

Second, the workflow! Notice I said level matched in both instances? Softube has a great system for quickly level matching the output gain or pushing things harder. I love those little extender buttons. They're very handy. That's an area where it beats the UA versions, TrackComp, and many others. I'll work faster with these.

It's funny I prefer TrackComp's workflow precisely because Softube doesn't understand how to implement parallel compression correctly. With TrackComp, the input and output knobs do not change the level of the dry signal, as they shouldn't, so you can level match the 100% wet signal to the 100% dry signal, and then use the mix slider to blend the two signals without changing the gain.

With all the Softube comps, the input and output knobs change the level of the dry signal, so it's impossible to level match the 100% wet signal to the 100% dry signal. Every time you adjust the wet level, the dry level changes, it's a moving target. So when you want to parallel compress, every tweak of the mix knob requires a corresponding tweak of the output knob, it's like wack-a-mole, but less fun.

I did just buy the FET Mk II anyway though, because it's pretty, and it sounds awesome, and I'm a plugin crackhead with no self control.

Did you open the panel on the right? One click and level is matched, super cool

[Lbdunequest]

At that tempo they all sound alike to me.
I would never use an LA-2A which has a fairly slow attack on anything like this.
rsp

I also think LA2A is not the best choice for such a fast and arpeggio-like bass.

Slower https://www.dropbox.com/s/oqghapyz514p4 ... r.wav?dl=0

And vocal https://www.dropbox.com/s/v2bog2df3ckbz ... l.wav?dl=0

[DCrown]

At that tempo they all sound alike to me.
I would never use an LA-2A which has a fairly slow attack on anything like this.
rsp

I also think LA2A is not the best choice for such a fast and arpeggio-like bass.

Slower https://www.dropbox.com/s/oqghapyz514p4 ... r.wav?dl=0

And vocal https://www.dropbox.com/s/v2bog2df3ckbz ... l.wav?dl=0

Great, thanks for re-doing it.
I listened to vocal.
4th and last I don't like, because
they make the s sound too harsh at
the beginning and I swear I didn't watch
the order of plugins you used before listening, now I know after checking.
I like 3rd example best and 6th first, too, but the latter is a little too compressed, it's just my first impression!
After listening again there's just one let's say strange thing, the word "one" of 4rd example gets all of a sudden pretty loud compared to the first beginning words and other comps, a kind of dynamic peak that the comp couldn't control, why is that?
Maybe 6th comp on parallel track (parallel compression) could achieve the best result?
Two comps I use on vocals, not exclusively, are Softube Summit TLA 100A comp and Reacomp.
Will listen again on better speakers

What's your favorite?

[zvenx]

Indeed thanks for redoing them.

I took your vocal one and did vc2a vs uad native la-2a silver on the raw one.
Still I couldn't get them to be insignificant different to my ears.
i didn't attempt your bass cause I would never use an LA-2A on that bassline.

https://www.dropbox.com/s/zjh9flx0ej8kb ... o.wav?dl=0

rsp

[trackbout]

It's funny I prefer TrackComp's workflow precisely because Softube doesn't understand how to implement parallel compression correctly. With TrackComp, the input and output knobs do not change the level of the dry signal, as they shouldn't, so you can level match the 100% wet signal to the 100% dry signal, and then use the mix slider to blend the two signals without changing the gain.

With all the Softube comps, the input and output knobs change the level of the dry signal, so it's impossible to level match the 100% wet signal to the 100% dry signal. Every time you adjust the wet level, the dry level changes, it's a moving target. So when you want to parallel compress, every tweak of the mix knob requires a corresponding tweak of the output knob, it's like wack-a-mole, but less fun.

Did you open the panel on the right? One click and level is matched, super cool

Ya that "SET" button in the side panel is nice to have if you're leaving it 100% wet, but if you want to parallel compress it does not improve the situation. Open the FET on a drum track and compress it, then use the side panel button to level match. Now what happens when you turn the mix knob to bring some dry signal back? It gets louder, because using that side panel button made the wet level louder, but it also made the dry level louder, so you still have to re-tweak the output knob, or re-click the side panel button, every time you move the mix knob. It's not something that can be fixed with an extra button, it's a problem with the signal path.

[Lbdunequest]

Indeed thanks for redoing them.

I took your vocal one and did vc2a vs uad native la-2a silver on the raw one.
Still I couldn't get them to be insignificant different to my ears.
i didn't attempt your bass cause I would never use an LA-2A on that bassline.

https://www.dropbox.com/s/zjh9flx0ej8kb ... o.wav?dl=0

rsp

There is a slight difference in the smoothness. First one at very beginning feels a little bit smoother. Im sure with slight adjustment even if the settings wouldnt match its possible to match the sound. But for now at the settings you have i prefer 1st. Which one is which?

[Lbdunequest]

At that tempo they all sound alike to me.
I would never use an LA-2A which has a fairly slow attack on anything like this.
rsp

I also think LA2A is not the best choice for such a fast and arpeggio-like bass.

Slower https://www.dropbox.com/s/oqghapyz514p4 ... r.wav?dl=0

And vocal https://www.dropbox.com/s/v2bog2df3ckbz ... l.wav?dl=0

Great, thanks for re-doing it.
I listened to vocal.
4th and last I don't like, because
they make the s sound too harsh at
the beginning and I swear I didn't watch
the order of plugins you used before listening, now I know after checking.
I like 3rd example best and 6th first, too, but the latter is a little too compressed, it's just my first impression!
After listening again there's just one let's say strange thing, the word "one" of 4rd example gets all of a sudden pretty loud compared to the first beginning words and other comps, a kind of dynamic peak that the comp couldn't control, why is that?
Maybe 6th comp on parallel track (parallel compression) could achieve the best result?
Two comps I use on vocals, not exclusively, are Softube Summit TLA 100A comp and Reacomp.
Will listen again on better speakers

What's your favorite?

I personaly like most 3rd one and the last one. But this test is being done on the same settings. Presswerk tho...i used the la2a preset provided by u-he. With some different setting dialing its possible to match the plugins, maybe not 100% to each other. But hey even the LA2A hardware devices can sound different from each other

[zvenx]

Indeed thanks for redoing them.

I took your vocal one and did vc2a vs uad native la-2a silver on the raw one.
Still I couldn't get them to be insignificant different to my ears.
i didn't attempt your bass cause I would never use an LA-2A on that bassline.

https://www.dropbox.com/s/zjh9flx0ej8kb ... o.wav?dl=0

rsp

There is a slight difference in the smoothness. First one at very beginning feels a little bit smoother. Im sure with slight adjustment even if the settings wouldnt match its possible to match the sound. But for now at the settings you have i prefer 1st. Which one is which?

You preferred the NI, but for me they are very different (and I prefer the second, though it may need a de-esser on it too)
rsp

[_leras]

Hmm the price for 3 plugins is insane.

Especially because 2 of the three are simply recycled code of age old NI plugins.
Not a smart move from Softube.

I'd be surprised if that wasn't some miscommunication. They surely wouldn't just repackage the UAD models. They've done a lot of work since then and have doubt refined their modelling.

[Funkybot's Evil Twin]

It's funny I prefer TrackComp's workflow precisely because Softube doesn't understand how to implement parallel compression correctly. With TrackComp, the input and output knobs do not change the level of the dry signal, as they shouldn't, so you can level match the 100% wet signal to the 100% dry signal, and then use the mix slider to blend the two signals without changing the gain.

With all the Softube comps, the input and output knobs change the level of the dry signal, so it's impossible to level match the 100% wet signal to the 100% dry signal. Every time you adjust the wet level, the dry level changes, it's a moving target. So when you want to parallel compress, every tweak of the mix knob requires a corresponding tweak of the output knob, it's like wack-a-mole, but less fun.

I did just buy the FET Mk II anyway though, because it's pretty, and it sounds awesome, and I'm a plugin crackhead with no self control.

I'll agree wtih you there. That is THE WORST implementation of a Mix knob possible. I don't know what's so hard about: run the dry signal in parallel, then have the mix knob as the very last thing before the outputs. It's how literally everyone expects a mix knob to work.

That said, with the Softube stuff, my approach has been: 1) open side panel on the right, 2) adjust mix, 3) use side panel on the right to quickly adjust the gain back to unity. Not too bad. I don't go nuts trying to find the perfect amount of compression if I'm doing parallel drums, usually just dial it in the ballpark of 50% and call it a day.

[trackbout]

Ya that's basically what I've been doing, the side panel button makes it a bit less painful, but being able to freely turn the mix knob with no level change is such a superpower, I wish Softube would sort it out. I've seen another company screw this up and then fix it later, Overloud added a setting to their 1176 called "Compressor Output Level before Parallel", which is retained for new instances, and as we're saying it just removes the output knob from the dry signal path. Easy peasy. These Softube compressors are worth perfecting so I submitted a feature request, if they get a few more maybe they'll listen.

[v1o]

Second, the workflow! Notice I said level matched in both instances? Softube has a great system for quickly level matching the output gain or pushing things harder. I love those little extender buttons. They're very handy. That's an area where it beats the UA versions, TrackComp, and many others. I'll work faster with these.

It's funny I prefer TrackComp's workflow precisely because Softube doesn't understand how to implement parallel compression correctly. With TrackComp, the input and output knobs do not change the level of the dry signal, as they shouldn't, so you can level match the 100% wet signal to the 100% dry signal, and then use the mix slider to blend the two signals without changing the gain.

With all the Softube comps, the input and output knobs change the level of the dry signal, so it's impossible to level match the 100% wet signal to the 100% dry signal. Every time you adjust the wet level, the dry level changes, it's a moving target. So when you want to parallel compress, every tweak of the mix knob requires a corresponding tweak of the output knob, it's like wack-a-mole, but less fun.

I did just buy the FET Mk II anyway though, because it's pretty, and it sounds awesome, and I'm a plugin crackhead with no self control.

You can always use FET as a send effect if you want want to do parallel compression that way (with independent fader control of the dry/wet signal levels).

I can't say that has ever been an issue for me. I think that's the standard behaviour for compressors. Waves do it that way. And hardware compressors that have parallel compression do it that way.

[trackbout]

I would argue that if you add a mix knob to a compressor, the whole point is to enable parallel compression as an insert effect, bc obviously you don't need a mix knob to do parallel compression as a send effect. And if your goal is to enable parallel compression as an insert, there is only one correct way to do it.

I think unscientifically most devs get the signal path right, definitely the ones I use regularly, DMG TrackComp, Pulsar Mu, JVA FirComp, Lindell SBC, Neold U17, Korneff Talkback, Goodhertz Faraday. The only exceptions are Softube, and some of the Overlouds like the Comp LA which is amazing, but I know the Comp LA is being fixed, so for me it will just be Softube that do it wrong.

[Igro]

Hmm the price for 3 plugins is insane.

I honestly think you can get by with Presswerk for all your analogue style compression needs.l for a much lower price.

There is even a cheaper option - Klanghelm MJUC. Just look at what Tony has done with that second module (1179). He just went beyond anything with that. The module has a density button. When it is off, the comp sounds like the bluey model, when it is on, then you get that "blacky" vibe model (more low end). But he went even further with that "timbre" control. You know when you push 1179, you will get a more prominent transient. This control can tame this, in many situation, unwanted "click". And then, he added the saturation control. Plus the internal sidechain filter and mix knob and automatic gain compensation. I was managed to reproduce the sound of any other 1179 emulation on the market with it. It is 1179 on steroids for 24 Euro.

[Havok]

Hmm the price for 3 plugins is insane.

I honestly think you can get by with Presswerk for all your analogue style compression needs.l for a much lower price.

There is even a cheaper option - Klanghelm MJUC. Just look at what Tony has done with that second module (1179). He just went beyond anything with that. The module has a density button. When it is off, the comp sounds like the bluey model, when it is on, then you get that "blacky" vibe model (more low end). But he went even further with that "timbre" control. You know when you push 1179, you will get a more prominent transient. This control can tame this, in many situation, unwanted "click". And then, he added the saturation control. Plus the internal sidechain filter and mix knob and automatic gain compensation. I was managed to reproduce the sound of any other 1179 emulation on the market with it. It is 1179 on steroids for 24 Euro.

The 2nd mode in MJUC is modelled after the 175 and 176 compressors, which were tube compressors not FET. No idea where you got the "1179" from?