Interesting Compressor Test

I saw a thread in here asking if the ProChannel components were similar in emulation quality to the UAD and Waves devices. So I came up with a test because I was curious too.

I have the UAD version of the 4K bus compressor. I took some audio program material and put it in two tracks. I inserted the UAD plug in one track, and ProChannel on the other. I edited their settings as closely as possible, then flipped the phase on one of the tracks to see what would cancel.

The cancellation was pretty impressive, and frankly, more complete than I expected. I tweaked the controls just a bit more to get maximum cancellation; I could hear some artifacts mostly during the attack, but I think the variation would be about the same as you might have between analog units from different production runs. A-B'ing the two with exclusive solo, I couldn't hear any audible difference.

Next, I tried the same thing with the two UAD 1176 emulations compared to the ProChannel 76 compressor. The cancellation was not as dramatic, there were more differences but I'm not sure that all these plugs are emulating the same hardware unit. It was still relatively close.

I don't have any S-Type compressor emulations other than the Cakewalk one, so I can't test that but perhaps someone who does can try this test. It's pretty revealing.

This is also a great way to hear the difference between compressors. For example, if you put the 4K Buss compressor in one channel and the S-Type in another and flip one out of phase, what you hear is the difference on how the compressors affect the signal.


BTW - I've been reviewing the UAD ATR-102 emulation, and it's really good if you're into tape machine emulation.

Wow! Interesting read. Thanks for that Mr. Anderton!

Or a Waring Blender?

Middleman

I actually like the Sonitus Compressor a lot. Very clean neutral compression, no EQ or distortion characteristics except at extreme settings and then its got a little attitude. Overall, if I just want to control transients without coloring the sound I will reach for the Sonitus.

+1 ... Absolutely 100% right.

I finally got the Pro Channel working and stable ... and after extensive uninterrupted use this week, I come to find out that I much prefer the Sonitus Comp.

I'm not familiar with the hardware versions of the compressors that the Pro Channel emulates, but I can tell you 100% for sure, if the PC is accurate to the originals, I'm glad I never bought them.

They add so much color that I find myself endlessly tweaking EQ, then tweaking the Pro Channel and I keep going back and forth. I slap the Sonitus Comp in the FX bin of the track or bus and viola' ... done. Not saying the PC comps don't have their place, but for the music I do they add too much color. I'm more in to real instruments than things like Z3TA.

Bub

Middleman

I actually like the Sonitus Compressor a lot. Very clean neutral compression, no EQ or distortion characteristics except at extreme settings and then its got a little attitude. Overall, if I just want to control transients without coloring the sound I will reach for the Sonitus.

+1 ... Absolutely 100% right.

I finally got the Pro Channel working and stable ... and after extensive uninterrupted use this week, I come to find out that I much prefer the Sonitus Comp.

I'm not familiar with the hardware versions of the compressors that the Pro Channel emulates, but I can tell you 100% for sure, if the PC is accurate to the originals, I'm glad I never bought them.

They add so much color that I find myself endlessly tweaking EQ, then tweaking the Pro Channel and I keep going back and forth. I slap the Sonitus Comp in the FX bin of the track or bus and viola' ... done. Not saying the PC comps don't have their place, but for the music I do they add too much color. I'm more in to real instruments than things like Z3TA.

Which comps are you talking about and for what? Are we talking about the Channel Compressor or the Bus comp or what? I don't see how Z3TA+ figures into the conversation at all. 

Anderton

I saw a thread in here asking if the ProChannel components were similar in emulation quality to the UAD and Waves devices. So I came up with a test because I was curious too.

Thanks.  I started that other thread trying to get some good info.  The info you provide is very helpful, both the cancellation via phase, and your experience.  Thanks for this helpful thread!

Middleman


Sure I will take a shot at a comparison.

I actually like the Sonitus Compressor a lot. Very clean neutral compression, no EQ or distortion characteristics except at extreme settings and then its got a little attitude. Overall, if I just want to control transients without coloring the sound I will reach for the Sonitus. If I want the same thing with more of a tube sounding attitude I would go for the Precision Compressor from UAD (poor man's CL1B).

The Sonitus has no EQ sonics like the UAD 1176 and is much less smeared sounding than the PC76, which is a heavy sounding compressor even at subtle settings.

The Sonitus versus the PC4k is basically a difference in snappiness. The 4k gets right on the front end of transients and the Sonitus, regardless of the settings, doesn't sound as fast. The 4k does have an upper end grainy sound in the SSL ballpark. It sounds more rough polished with a bit of an attitude. Put it over the two buss of a mix and you will notice some additional energy over the Sonitus.

Two minute review.

Waring Blender - much better at after hour cocktails than any of the above.

I think we have the same set of ears
 
I feel the Sonitus effects are underrated in general. But, I also am a big fan of the VC-64. One of my favorite settings is to put the two compressors in series, with very light compression - like 1.5:1.
 
I know what you mean about the 76. It's my favorite compressor for bass, though.
 
If only one compressor existed in the whole world, I would simply use that. But, having these different types available is welcome when you get into very detailed sound. I don't think it's necessarily a good idea to obsess, but sometimes you find that particular compressors just seem like very good matches for particular instruments or artists, and that becomes part of your repertoire.

Not saying the PC comps don't have their place, but for the music I do they add too much color. I'm more in to real instruments than things like Z3TA.

 
Hi Bub,
 
I won't address the PC specifically... but wanted to share some thoughts.
 
The 1176 hardware is absolutely classic.  Used on tons of records.
In particular, when you want some attitude from the comp, it's fantastic.
Particularly nice for aggressive vocals and guitars.
I know Cliff Cultreri used to record with an SM57>Millenia>1176 as his signal chain.
Cliff is incredibly gifted (has worked .with some of the best rock guitar players in the world - and is a great player himself)
 
The SSL Bus Compressor is another great piece of hardware.
The better software emulations are also very nice.
Start with a well mic'd drum kit.  Route the kit as a whole to a subgroup... and apply the SSL Bus Comp.
You get that tight modern-country/pop-rock drum sound with punch/crack.  If used in moderation, you can do this without squashing the cymbals (which is a sound I can't stand)
I'm generally not crazy about the SSL Bus Comp placed across the entire stereo mix ("two-bus").
Too much of a good thing in that scenario (for my tastes).  
 
I'll also mention the LA-2A (even though it's not part of the PC).
The LA-2A hardware (and the better software emulations) are perfect when you want to softly/smoothly (transparently) rein-in the dynamics of a track.  You don't really hear the obvious compression like you would with a typical compressor. 
 
With those three types of dynamics processors, you can cover almost any mixing scenario (well).
 
I like dynamics processors (and instruments for that matter) that have a specific/definite character.
A "one-trick-pony" is great... if that one trick is exceptional.
When I hear the raw tracks for a mix, I know when I'll want to grab an LA-2A... or the more aggressive 1176... or the Bus Comp.   Just a matter of being familiar with the character/capabilites of each one.
I love Pultec type EQ for the same reason.  It has a unique character.
These things become part of your sound...
 
Liken the situation to a painter knowing when/how to use brilliant colors... or a chef knowing when/how to apply spice/seasoning.  Too much of a good thing can spoil the mix... but used judiciously the results can be striking.
 
Now that's weird. 
Is "s-p-i-c-e" a derogatory word?  The forum software is choosing to block it out.  
 

(But I would want at least a multiband EQ as well).

 
I completely agree...
SSL channel-strip and Pultec is all the EQ I need.

Funny you asked about that ... but not about how I got the Pro Channel working. :)
 
I've been complaining about that since 30 seconds after I installed X1 back in December. :) I'll tell you, but it's going to cost you now ... It doesn't take much to bribe me ya know. Maybe you could 'Expand' my recording experience ... ;)

 
Bub: Care to PM me your solution? I'll keep the secret quiet

Thank you Mike for your comments.  The article you provided a link to was very good.  I appreciate your knowledge and advice very much.  Do you have any songs you have written/engineered/produced that we can listen to?  It would seem you would be very much ahead of many of us with all the knowledge you pocess.

Thanks again.

"add noise and distortion to mimic the non linear character that is (a) symptom of the analog limitations "

And therein lies the "magic" in all analog gear. The pure linear response of digital is why some perceive digital as "sterile"; IMHO of course.

Tom

Thanks again Mike, I my comments are sincere.  If you ever come across that "one modern full featured compressor" please let us know what it is!

codamedia

Funny you asked about that ... but not about how I got the Pro Channel working. :)
 
I've been complaining about that since 30 seconds after I installed X1 back in December. :) I'll tell you, but it's going to cost you now ... It doesn't take much to bribe me ya know. Maybe you could 'Expand' my recording experience ... ;)

Bub: Care to PM me your solution? I'll keep the secret quiet

Sorry ... no can do. I'm waiting to hear if anyone from Cakewalk is interested in the solution seeing how this has been such a major ongoing problem for so many users.

So far ... no takers.

Just thinking here. There would need to be 3 characteristics that must be fulfilled to create a universal compressor besides the normal attack, release, ratio, FB, FF and makeup. I think the Distressor might come closest in the hardware world.

1. Variable Speed control, meaning could be opto or VCA (Slow to Fast)
2. Frequency curve adjustment to change the frequency emphasis.
3. Frequency specific saturation. Ability to saturate in any area of the sound spectrum.

That would be a useful compressor.