
Two detectors, not one topology
- Feedback detection measures the signal after gain reduction. The detector hears its own work, so compression becomes program dependent and self limiting. Smoother, more forgiving, harder to make sound wrong. It is why the classic units behave the way they do.
- Feedforward detection measures before gain reduction. Faster, more precise, holds a hard ceiling where feedback would round it off.
- STYLE picks the right one for the material rather than asking you to.
The upward stage, and FLOOR
- FLOOR is where lifting stops. Set it above the noise and you get the performance without what was sitting underneath it.
- We have not found another upward compressor that gives you this.
BAND and DET
- BAND processes only the range you choose. DET processes everything but only listens to the range you choose. One changes what gets compressed, the other changes what decides.
- Drum buss. BUILDER across the kit with the detector deaf to the kick, BODY in BAND on the mids. Shells thicken, low end stays put, cymbals stay open.
- Vocal. DET high passed so chest thump stops triggering it, BODY in BAND on the mids.
- Mix buss. DET high passed so the kick stops pumping the whole mix.
- A wild low end. BUILDER in BAND on the lows only. Nothing else knows it happened.
Sidechain, either stage, either direction
- Peak stage. Classic ducking. A bed under a voiceover, bass under a kick.
- Upward stage. The opposite, and almost nobody has it: the source lifts when the key drops away. Backing vocals come up when the lead stops.
- One stage each way. The bed ducks under the voice while the other stage stops it collapsing to silence between sentences.
Saturation
- WARM. Polynomial soft saturation. Low order harmonics, fuller and closer without shifting the tone. Transients untouched, so drums keep their snap. Full stereo.
- HOT. Tanh based tape saturation, harder character. The low end is kept out of the drive so the bass does not turn to mush, and it eases off on transients so a snare front or a vocal consonant stays intact.
- Both oversampled internally, with filtering on the processed path to stop low frequency build up.
- Below halfway it will never be louder than bypass. Most drive controls flatter themselves by getting louder. This one does not.
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- 64-bit VST3, AU, AAX and standalone
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- macOS 10.13 or later
- Windows 10 or later
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