A few words about compression

Compression describes the audio process of reducing the overall level of audio by controlling the range of peaks and average program volume. By reducing the dynamic range of program material, the compressor allows the track to gain a better average level. In the analog days, this was not only useful but vital for many purposes. With the traditional 70’s-80’s analog studio, tracking to tape meant hitting levels hot enough to be loud enough above the noise floor, but stray peaks could overload the tape gain and lead to unwanted distortion only at bursts of loud signals. The compressor could be used to control these peaks and reduce them to a designated volume, thus allowing the average level of the track to hit the tape harder without going into distortion. In broadcast then and now, compression was used to maintain a consistent level of program signal, as lower levels could be hard to hear on small replay devices and the signal could sound weak if not consistent in average level.

As the type of compressors made become more diversified, more specific purposes were found. While the use was sometimes still meant to be hidden and utilitarian, the compressor had the tendancy to sound different depending on the material used on. So, this became more and more a part of a signature trademark sound of different engineers and producers. In the ‘digital age’, we have so much technical control over any level we desire, a well-trained engineer should be able to use a decent mic preamp and mic and never have to use a compressor to maintain dynamic control. But, we find that the character of compression has become a sonic signature that we don’t want to part with. The different circuitry used gives such a character and richness to the signal path, we don’t want to do without it!

Technically, the usual compressor has a set group of controls:
Threshold- the depth of volume that compression takes place. Threshold means at what amount of dB’s will the compressor start to activate.
Ratio- what percentage of the signal will be processed with compression. A very low ratio adds only a very small amount of compression to whatever dynamic range of the program material is designated by the threshold. A high ratio will compress very heavily but still only the selected threshold depth of dynamic range.

Attack- the attack defines the speed at which the compressor responds to the first audio to enter the signal path.

Release- the release designates how long the circuit will wait to let go of the compression character defined.

This combination of basic controls makes up the complex interaction of a compressor. A basic software algorithm can put together these variables and make for a very basic sounding reference device. But, it is small subtle variables in the real world interaction of these events that really makes compression unique.

This becomes even more true when translating this interaction int the Nebula engine. There is an interaction between the actual threshold measured and the ratio, and the interaction between attack and release times can have a dramatic effect on all settings in between.

All compressor hardware designs approach this similar process using different techniques. It is this unique interaction of systematic circuit design that leads to such unique character.

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About The Hardware

About “THE Drum Compressor” Hardware Devices. “THE Drum Compressor” collection is centered around a collection of vastly different hardware compressors that share one common quality; they are incredible for use with drums! There will be other specific instrument compressors in this series based on other designated instruments in the same manner. Because of the technology used, the deep editing process, and the elimination of certain character artifacts that differ from certain hardware settings, we are happy to share information about the types of devices used and the character of these different amazing hardware devices, but we will not discuss anything about any specific pieces of hardware in this collection. This collection represents our original sonic character, using a combination of the definite sound of certain hardware, combined with editing that makes it possible to fine-tune these traits into the ultimate, more usable, analog-sounding giant that is “THE Drum Compressor” !!! 🙂

The VCA behavior designed for this collection is very high-end, and has a boutique quality, while simultaneously containing the definitive snappy, poppy, or more subtle, controlled character. VCA compression has long been chosen specifically for drums. It is a designation that proves that great engineering isn’t always about using the rarest or most expensive technology, but much more about the engineering knowledge required to design a great sound. Cheap VCA devices can sound just plain lousy. But, a great VCA compressor, like the personality found here, can tune-in on the tonal quality of the instrument, but when used for anything more than a dB or two, it can always be heard. Once the sound engineer learns the unique sound of vca compression, they can usually pick it out of a crowd.

The Opto-Cell Tube Limiter has a unique, classic, vintage, classy, heavy, thick, richness to its tone. It is not always the right choice for the instrument or song, but when it is the right sound, there is nothing like it. It is sometimes described as a slower sounding compression, although the actual cell selected has some affect on whether that is true or not. In this case, we feel you are gaining the character of the ultimae opto-limiter sound for drums. This was not easy, and required literally hundreds of sampling tests to get the absolute perfect combination of threshold range and ratio. The quality passes through many era’s of sonic excellence, and you may find it perfect for a bus on one song, and beautiful for a ride cymbal in another. Treat yourself to some time with this effect, as some qualities aren’t as apparent on some drums as they are on others.

The Opto-Cell Tube Compressor shares the same qualities mentioned above, but is very reflective of the program material, and you will hear a very unique sound from the compressor as opposed to the limiter. The same device and signal chain are used for the limiter and the compressor, but they are handled very, very differently and the level-setting, sampling, and editing process are tirelessly programmed for the perfect response as compression rather than limiting. Not to be confused with brickwall limiting, while the tube opto-cell is in limiting mode, it will exhibit one quality on instruments and bus “glue” while the compressor will act as a track compressor and a unique bus effect as well. Again, this is not perfect on everything, but when it is the right choice, nothing in the world sounds better!

The FET-Based Compressor was a challenge to represent in all its glory, but we believe that you will be very pleased with what you can do with your drums with these programs! These tend to be fast, snappy, and responsive. The way I hear these programs would be described as taking the sound of your drum and raising its character up a notch. If the mic is picking up the ring of the head, you can tune-in exactly how the ringing sings along with the track. If you are trying to mic a snare for a strong ‘pop’ or ‘wack’ sound, the FET can jump in there and push the fast transients forward. Regardless of the track and the setting, we believe this is one of the world’s finest representations of a very generalized FET sound, and you will find that you can return to these FET programs a thousand different times, and always find something new yet reliable to make you smile.

The “TUBE” compressor. Well, this gets into very general territory. There are multiple processes and sampling methods involved here. Tubes can make us think of anything from the slow glue opto-response mentioned above, or can be an aggressive 60’s channel drive, or a super hi-fi clean sound. This group includes different types of tube voicing and weighting the response of compressors and limtiers to react to transients, harmonics, and spectral response of drums in unique ways that only the valve process can produce. Some tube devices included and used to drive the signal while compressing, and others are set to grab the brighter ‘crack’ of the drum while cleaning the return to release mode with a noise-cancelling side chain tube element found only in certan tube devices. Other tube program groups are centered around a tube-solid state hybrid signal chain that uses some solid state fet and vca processing while driving the tube chain into harmonic non-linearity, and others use the tube signal path strictly for ratio and threshold control.

All of these hardware devices are treated with a range of diverse sound never found just in hardware form, by widening their scope of sonic control with mix wet/dry signals, a completely flexible high pass filter for making a less audible side effect personality, and the unique interaction of Nebula programming from fine-tuning the input level as compared to the sample series, as well as overall levels compared to harmonics, and threshold and ratio tirelessly edited to match the most sought after compression responses we want for drums!

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