VOS Density MkIII ... WOW!

[s_t]

Seem to recall that some liked Density1 better than Density2. Does everyone agree that Density3 is now the best of the lot?

Density I is very different sounding compressor compared to Density II & III. So IMO they shouldn't be compared as predecessor and substitute. I still prefer Density I for many things to get that specific sound. I think it's a bit shame that Density I is not available anymore at the VOS site.

[LAGinz]

Is there any other way to get hold of Density1?

[sheikh al Dudeilan]

Actually as has been said he does write about it but he doesn't necessarily lay it all out, you sort of have to piece it together.

Useless clarifications:
yes, I LOVE this compressor; no, I'm NOT bitching; I'm just trying to get a better conceptual understanding of some very complex, NEW [well, some of them] and interacting processes; all I'm saying - and it's NOT a complaint either, is that Bootsy's manuals ARE vague.

Best evidence is the debate that's going on here. And thus far, it's only about SOME of the features introduced in Density.

But as I asked previously, is there some stereo enhancement going on? Or, something else, what parts of the sound are affected by what functions? Are some functions affecting ALL of the sound and others affecting only the COMPRESSED signal, or are all functions affecting ONLY the compressed signal, or are all functions affecting the WHOLE signal, even though in very subtle ways?

How do these functions interact with/affect each other DEPENDING ON SETTINGS?

I currently see no answers, and it seems to me that we're far from agreeing on anything.

Only thing I can say for sure is that I've used it for 8+ hours every day over the last few days and it adds STUNNING detail to all kinds of sources: well produced commercial music, badly produced commercial music, my own meddling in the studio, etc.

That is why I want to know MORE.

[Hope it's clear now. ]

[Trakstar]

All I know is that I'm going to create a list of banned buzzwords in my studio... and describing a compressor as more 'musical' is the first on the list. Freakin' quacktarded jibberish! I swear, people will say anything when they have no clue about what they're really talking about


On another note... nice work Bootsie! Solid update.

I always use the term "musical" when comparing an opto type (or vari mu for that matter) compressor that pumps and moves dynamically in time with the music due to program dependancy rather than say a VCA type compressor with fixed attack and release times that gives the audio not much room to breathe.

Main reason why i would use an 1176 emulation on drums and an La2a on vocals and insruments, and a 670 type for mastering.

...I think you have a rather simplistic (and wrong) conception of the behavior of a compressor, no offense intended obviously...1176 has an highly program dependant release time...program dependance can be obtained not only with electro luminiscent panels/LDR (read Opto compressors) but also with FET and VCA...it's more the specific circuit design used than the GR element used

Well what you think you know what I know from a very little statement about compressors is not something I am going to give half a second thought about and explain page upon page of how compressors and Equalizers are "musical". The stuff your going on about:
"Been there, done that and got the t-shirt". No offense, but Ive done wasting my breath arguing the point of how compressors work for pages on end that go no where. So if you think I am inferior to you on how to use a compressor and how they work. bully for you. In fact it takes a little over two minutes to find the answer on the internet.

http://www.soundonsound.com/sos/sep09/a ... ssors.html

so, for all those who are too thick to know the difference between compressors and the different types of system used for Gain reduction, there you go. Like trying to teach your granny how to suck eggs. Dear me..

[jupiter8]

Actually as has been said he does write about it but he doesn't necessarily lay it all out, you sort of have to piece it together.

Useless clarifications:
yes, I LOVE this compressor; no, I'm NOT bitching; I'm just trying to get a better conceptual understanding of some very complex, NEW [well, some of them] and interacting processes; all I'm saying - and it's NOT a complaint either, is that Bootsy's manuals ARE vague.

Best evidence is the debate that's going on here. And thus far, it's only about SOME of the features introduced in Density.

But as I asked previously, is there some stereo enhancement going on? Or, something else, what parts of the sound are affected by what functions? Are some functions affecting ALL of the sound and others affecting only the COMPRESSED signal, or are all functions affecting ONLY the compressed signal, or are all functions affecting the WHOLE signal, even though in very subtle ways?

How do these functions interact with/affect each other DEPENDING ON SETTINGS?

I currently see no answers, and it seems to me that we're far from agreeing on anything.

Only thing I can say for sure is that I've used it for 8+ hours every day over the last few days and it adds STUNNING detail to all kinds of sources: well produced commercial music, badly produced commercial music, my own meddling in the studio, etc.

That is why I want to know MORE.

[Hope it's clear now. ]

Just turn the knobs and hear what happens. That's how i always do it.

[Trakstar]

Just have to say, obviously a lot of people dont know how a compressor works due to this forum. Ive been having fun with Density mark 3 and proper enjoying it and only started commenting to help people out. Up to this point Im already being pulled down and slated for a few key words such as "musical" and not going into further detail on how or why I use Ik's 1176 on drums. Ill give you a good tip, when you use an 1176 emulation like this or my favorite at the minute is the cakewalk FET emulation on drums, engage the all buttons mode. On the cakewalk I give it an attack of around 1ms and let the release be minimal to get a really pumping, dynamic movement going-especially for drums that have a lot of distortion going on when you do this. Then I simply use the parallel mix to blend the original signal back in until the distortion clears up around 50/50. You can then push it really hard and use the attack and release to control the Peaks and dynamics of the audio. Why would I do this, because it sounds incredible on drums. Yup, I know, you already knew this, like trying to teach your granny how to suck eggs. The FET basically follows the transients of the sound and can be very brutal upon transients and peaks, hence the reason I would use it on drums.

[synaesthesia]

All I have to say about Density MkIII is that it is sounding fantastic on both individual channels and the mix buss.

Have had some very positive responses from clients about the punchiness and depth of my mixes in the last week or so.

[Aiynzahev]

What's Density?

[Kontrast13]

It's getting a little tense in here... between people telling others they don't know how something works, to the misunderstanding of shared info, to the defensiveness...

Maybe this is an effect DensityMkIII!?

[Trakstar]

It's getting a little tense in here... between people telling others they don't know how something works, to the misunderstanding of shared info, to the defensiveness...

Maybe this is an effect DensityMkIII!?

You again, ya freakin quacktarded sock bucker

(I should know better by now)

[Kontrast13]

In regards to the question of how people use Density...
there has to be someone using it on this topic.
I must be a result of the color knob

[A.M. Gold]

Herbert is notorious for not explaining things beyond what he writes in his blog posts, so this is just something that you will have to accept if you want to work with his plug-ins. I don't know what 3D means either but he explained "stateful saturation" at some point (I don't remember exactly where, though).

All I can say is this: he definitely knows what he's doing so these words are far from empty. As to whether the end result is as great as he says it is---everyone will just have to judge for themselves.

[Aiynzahev]

I just had a go putting on a really nicely processed track. Lovely compression and EQ, yet Density still managed to impart something using the colour knob. Its a saturation effect, but in the preset I was using "Larger than life" it's in M/S mode.

Thrillseeker is even more useful here I found. I turned the range knob all the way down to disengage the compression and just used the saturation. Boy this is able to really add excitement. I liked it best on 0.5 and HF.

I don't know if it will work on everything. But I am demoing some seriously expensive plug-ins right now and this does something different as far as I can tell and it's really useful.

Anyway, they're free so just use em if you like em.

[AudioGuy720]

It's getting a little tense in here... between people telling others they don't know how something works, to the misunderstanding of shared info, to the defensiveness...

Maybe this is an effect DensityMkIII!?

Lots of Hateful Saturation going on...amirite?

[A.M. Gold]

It's getting a little tense in here... between people telling others they don't know how something works, to the misunderstanding of shared info, to the defensiveness...

Maybe this is an effect DensityMkIII!?

No, I think it's an effect of KVR.