Reviewing Logic Pro X's Compressors (Are They Any Good?) - Seamless integration with Final Cut Pro.
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In a broad sense, it changes how the compressor reacts as the signal approaches the threshold. Generally, this is quite hard to hear. Really it has a subtle effect on the overall character of the compression.
So play with this and trust your ears. Whatever sounds good for your track is the best setting. Attack is an essential parameter to get in and play with, as it controls the length of time before the compressor acts and reduces the level of the input signal.
We lose punch and impact if we squash the transients with the rest of the sound. Likewise, Release is the amount of time it takes for the compressor to ease off and stop working each time it hits. To save you the trouble, you can use the Auto release mode, which is a reliable way to ensure that compression is safely applied. And then of course there are the Mode buttons up top, which change how Compressor processes incoming audio by emulating different classic hardware units.
Did you know that the team at Apple spent some serious energy on giving you a great range of compressors in one package with Logic Pro X?
Not only that, but these different compressors each have a unique real-world counterpart that has been painstakingly recreated. Named after an earlier release of Logic Logic Platinum , circa ! Producers tend to use Platinum Digital when they need to make some technical adjustments to the way the level, the attack, or the release of a sound behave. Tip: Studio VCA comes into its own on an instrument or vocal layer when you push the Threshold down and choose one of the Distortion options.
Have a play, and enjoy the warm flavor of this compressor. Based on its real-world counterpart, the UREI the Studio FET Field-effect Transistor compressor is designed to give you a responsive and punchy attack, as well as providing a bit of nice color to the overall sound.
Adjust the threshold, ratio, and attack to find the sweet spot for a layer you want to get the most out of. Tip: Give your lead part a solid attack to help find its place in the mix. The attack will poke through your mix and allow you to nestle the layer deeper in with the rest of the instruments, just biting through every time the compressor is initially activated. The simplest of them all, the Classic VCA is modeled on the sound and controls of the real-world dbx Notice there are no attack and release controls here.
The simplicity will help you make quick decisions, setting the threshold and ratio to find the sweet spot. Side Note: The boffins over at Universal Audio have also released an emulation of the dbx You may want to compare it with the stock Logic Pro X plugin.
Once again, they are designed with real-world counterparts in mind. Vintage Opto is the way to go if you want a very smooth compression effect while still coloring the sound with warmth and richness. Try Vintage Opto when you want to let mid and low frequencies sing through, while higher frequencies are more finely attenuated. Fun Fact: Optical compressors react to a light flashing in response to the audio signal coming in.
They have a bit of a sluggish response once all the conversions are factored in, resulting in their distinctly smooth vintage tone. The bad news is that a compressor will rarely fix a weak sound. Compression is intended to either bring out the best in your sounds, eliminate inconsistencies, or provide a tool for experimentation. The good news is that Logic Pro X has a very solid and convincing range of compressors with various uses.
As always, have a play around, trust your ears, and enjoy your music-making! Although this seems to go against how audio should be processed, the clipping generated by this compressor can come in handy or be used creatively. The compression-Esque functions of this plugin include:. The Initial function determines the point at which the compressor will begin to clip the signal, whereas the End function determines the final amplitude of the clipped signal.
Although this plugin is a bit unorthodox, it can be thought of like a compressor that instead of simply attenuating the signal, attenuates the signal with clipping distortion. With that said, the greater the attenuation, the greater the amplitude of the distortion. This plugin may not be a go-to choice for traditional compression, but it does offer a unique form of processing that can be used creatively.
Another unique entry on this list, Couture by Auburn Sounds offers a way to affect the ADSR of a signal and to perform compression and transient shaping independent of that transients amplitude.
When using the main transient shaping functions, you can either compress the transient and amplify the sustain and release of the signal, or you can amplify the transient and compress the sustain and release. The detection setting you choose also determines what transients get boosted or cut, depending on the frequency of that transient.
One of the simpler plugins on this list, the DC1A by Klanghelm only utilizes two rotaries — or at least this is how it appears at first. It is true that you can use this plugin in its most simple form — that is increasing the input to cause compression, you can also create some nuanced effects using its additional functionality.
Deep, Relaxed, Dual Mono, and Negative buttons at the bottom can be used to significantly affect the sound of your compression. The Deep function introduces a High Pass filter to alleviate the effect of pumping. Dual mono changes the input from stereo to two independent compressions that treat the left and right channels independently. And Negative inverts the ratio, causing expansion. Lastly, the DC1A employs subtle harmonic generation to make your signal sound fuller and more complex.
Try this compressor out if you want a quick and effective way to add some character and punch to your signal, all while controlling your dynamics. Varimoon is similar to the other Analog Obsession compressor listed earlier but includes additional functionality and more intricate harmonic generation. First off, this compressor incorporates a variable release function , offering 6 settings. Settings 1 — 4 correspond to times ranging from 0. The AC threshold can be thought of as a typical threshold, whereas the input attenuation can be thought of as a ratio.
It only seems to affect the signal once significant compression is already applied. At which point it causes slightly more significant compression. Like the other Analog obsession plugin on this list, the Varimoon employs harmonic generation that increases with the amount of compression being applied. This way, you not only compress your signal, but you also increase its complexity and fullness with mild to moderate distortion.
It showcases some great free plugins that you can add to your library. It goes into greater detail about what saturation is and how to apply it for each production step. Loudmax by Thomas Mundt is simply put, a great plugin. What makes this plugin so useful is how cleanly it affects a signal. The threshold determines when compression begins and the output determines the output level of the signal.
The Loudmax also uses an auto gain function that enacts whenever the threshold is lowered. That said, pulling down on the threshold increases the overall loudness and amplitude of the signal. Try the Loudmax on a full mix to preview what it would sound like when brought to a louder level, or use it to transparently compress an instrument.
However you choose to use it, the Loudmax is a simply but highly practical and useful plugin. This compressor offers clean compression and provides the functionality needed to fine-tune your attenuation. The compressor houses the typical functions but also includes some very important settings allowing for nuanced compression. The compressor also introduces subtle harmonic generation to create a fuller-sounding master.
RoughRider 3 is an easy to understand yet advanced compression plugin that allows for side-chain routing.
Although the RoughRider 3 looks as if the compressor it cleanly compresses your signal, it does introduce harmonics that result in a fuller mix or master. The primary reason to use this plugin, as opposed to some of the other free compressors listed here, is for the side-chain functionality. It showcases various ways that compressors can be used, as well as, the best ways to implement certain techniques.
Incredibly fast Attack and Release times mean you can easily alter the timbre of your signal with this compressor. Additionally, a side-chain high-pass filter offers control over your side-chain that other compressors rarely provide.
Of all the plugins on this list, Frontier by D16 Audio Group was the most enjoyable to use, aesthetically pleasing, and useful plugin I came across. While all other plugins took some tweaking to result in an enhanced sound, the Frontier provided this almost instantly.
Frontier can be compared to number 4 on this list, the Loudmax plugin, except with additional functionality that augments its sound and practicality. A soft-clip feature employs subtle harmonic generation when reaching 0dB. The control input feature allows you to process your single as a stereo, left or right channel.
And lastly, the auto-makeup gain setting increases the overall amplitude of your signal while setting the threshold for your compression. All-in-all this plugin sounds fantastic and allows you the option of clean or distortion-based compression.
This makes it a great choice for both individual instruments and full mix compression and limiting.
Final Cut Pro - Compressor - Apple.
Final Cut Pro X - Wikipedia.Top 10 Free Compressor Plugins — Sage Audio
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