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Lauren Marie
Lauren Marie

Waves H Comp Hybrid Compressor Mac Torrent

An emulation of their own hardware processor (again in collaboration with the busy guys at Brainworx), Elysia delivered a great plugin with Mpressor. Eschewing any direct nods to vintage designs, Mpressor is a thoroughly modern compressor with a sleek interface and some smart features like Anti Log (switches to an alternate release curve for instant pumping effects) and the ability to set the compression ratio to negative values for some classy and highly usable dynamic effects.

Waves H Comp Hybrid Compressor Mac Torrent

An impressive multi-band compressor/limiter from the company of FL Studio fame. I previously noted how this is one of the best plugins for increasing loudness and milking every spare dB from your tracks, and in a more crowded market Maximus continues to deliver the goods. A great visual display element to the GUI, generally straight-forward operation (not a strength of all multi-band plugins) and multiple dynamics options including gating, ducking, expanding and de-essing make this a winner for processing complete mixes, busses and stems or individual tracks.

Variety Of Sound make some very cool and extremely well-regarded effects and processor plugins, all available for free from their blog. Since our original list, the Density compressor has been upgraded to MKIII, and is still one of the best freeware compressors available.

Pro Tools users have long been lucky enough to have exclusive access to McDSP plugins. The two standout compressor plugins in their range both have a lot going on under the hood, each providing a whole range of processing and dynamics options all from within the single plugin.

An all-time favourite character compressor, and not just because it can do decent impressions of 1176 and Distressor sounds. It just has a brilliant sound overall, especially for the price of just $49 (or $25 for Reaper users!).

An excellent utility type compressor for everyday duties that has stood the test of time. Another simple no-nonsense approach from Waves with good dynamic curves and a pleasantly neutral tonal quality when pushed hard.

More of a character compressor and has functions making it ideal for Electronic productions, these include a transient punch control, BPM sync, wet/dry for easy parallel compression and external side-chain modes. Beyond this you get output clipping and various analogue modelling modes. Lovely stuff.

The Threshold slider sets where compression begins. Signals above the threshold are attenuated by an amount specified by the Ratio parameter, which sets the ratio between the input and output signal. For example, with a compression ratio of 3, if a signal above the threshold increases by 3 dB, the compressor output will increase by only 1 dB. If a signal above the threshold increases by 6 dB, then the output will increase by only 2 dB. A ratio of 1 means no compression, regardless of the threshold.

The orange Gain Reduction meter shows how much the gain is being reduced at any given moment. The more reduction, the more audible the effect; a gain reduction above 6 dB or so might produce the desired loudness, but significantly alters the sound and is easily capable of destroying its dynamic structure. This is something that cannot be undone in later production steps. Keep this in mind especially when using a compressor, limiter or sound loudness-maximizing tool in the master channel. Less is often more here.

Attack defines how long it takes to reach maximum compression once a signal exceeds the threshold, while Release sets how long it takes for the compressor to return to normal operation after the signal falls below the threshold. With Auto Release enabled, the release time will adjust automatically based on the incoming audio.

A compressor can only react to an input signal once it occurs. Since it also needs to apply an attack/release envelope, the compression is always a bit too late. A digital compressor can solve this problem by simply delaying the input signal a little bit. Compressor offers three different Lookahead times: zero ms, one ms and ten ms. The results may sound pretty different depending on this setting.

Normally, the signal being compressed and the input source that triggers the compressor are the same signal. But by using sidechaining, it is possible to compress a signal based on the level of another signal or a specific frequency component. To access the Sidechain parameters, unfold the Compressor window by toggling the button in its title bar.

The Comp toggle applies a fixed compressor to the input signal before it is processed by the distortion. The compressor is optimized for balancing out groups of drums, with fast attack, medium release and moderate ratio settings, as well as ample makeup gain.

Frequency shifting is accomplished by simply adding or subtracting a value in Hertz to the incoming audio. This is distinct from pitch shifting, in which the ratios of the incoming frequencies (and thus their harmonic relationships) are preserved. For example, imagine you have an incoming audio signal consisting of sine waves an octave apart at 440 Hz and 880 Hz. To pitch shift this up an octave, we multiply these frequencies by two, resulting in new frequencies at 880 Hz and 1760 Hz.

Normally, the signal being compressed and the input source that triggers the compressor are the same signal. But by using sidechaining, it is possible to compress a signal based on the level of another signal or a specific frequency component. To access the Sidechain parameters, unfold the Glue Compressor window by toggling the button in its title bar.

The Limiter effect is a mastering-quality dynamic range processor that ensures that the output does not exceed a specified level. Limiter is ideal for use in the Master track, to prevent clipping. A limiter is essentially a compressor with an infinite ratio. (For more information about compression theory, see the manual entry for the Compressor device (see 24.5).)

In technical terms, lowering the volume in the block above the Above threshold applies downward compression, while raising it applies upward expansion. Likewise, lowering the volume in the block below the Below threshold applies downward expansion, while raising it applies upward compression. In all cases, you are adjusting the ratio of the compressor or expander.

The DC switch filters out DC offsets and extremely low frequencies that are far below the audible range. It will only have a sonic effect if a signal contains these frequencies and is processed after Utility with nonlinear effects such as compressors or waveshapers.

And just like in our Virtual Console Collection plug-in, these artifacts added a sonic imprint to the compression. Was this the magic sound that made the plug-in compressors sound different than the analog compressors? There was only one way to find out. We had to precisely model it. All of it!

Cruz-Manzo, Samuel, Maleki, Sepehr, Panov, Vili, Agbonzikilo, Festus, Zhang, Yu and Latimer, Anthony (2018)Performance analysis of a twin-shaft gas turbine with fault in the variable stator guide vane system of the axial compressor. In: 9th International Gas Turbine Conference, 10-11 October 2018, Brussels, Belgium.

Maleki, Sepehr, Cruz-Manzo, Samuel, Bingham, Chris and Panov, Vili (2018)Performance analysis and prediction of compressor fouling condition for a twin-shaft engine. In: Global Power and Propulsion Forum, 10 -12 January 2018, Zurich.

Saleh, Ibrahim, Postnikov, Andrey, Bingham, Chris, Bickerton, Ronald, Zolotas, Argyrios and Pearson, Simon (2018)Aggregated power profile of a large network of refrigeration compressors following FFR DSR events. In: International Conference on Energy Engineering and Smart Grids, 25-26 June 2018, Fitzwilliam College, University of Cambridge, Cambridge, UK.


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