This plugin isn’t exactly free - the developers offer an unrestricted demo with the exception of saving new presets. That said, it’s sold for $30 which is a great price if you want to support the developer.
At first glance, the compressor seems similar to the FabFilter Pro C-2 with the distinct algorithms, lookahead function, and automatic make up gain, but there’s a lot more going on here.
For example, if 250Hz is causing a problem with the vocal, I can go to the zones section, enable the filters and isolate the range I want to compress. Unlike side-chaining which only causes the compressor to be triggered by certain frequencies, zones acts like a stripped down MB compressor.
Or, say instead of controlling the vocal from the peaks down, I want to boost everything below -30dB by 5dB.
I’d enable the upward compression, adjust the threshold to negative -30dB, ensure the range only allows for 5dB of amplification, and then vary knee, ratio, attack and release until I achieve the sound I want.
Alternatively, I could adjust the amount and make up to achieve something similar.
Now, there’s a lot more about this compressor that I find incredibly interesting, so I’m going to do a full video on it later in the week - but for now, let’s listen to a vocal being compressed in the context of an instrumental.
I’ll use both peak down and upward compression, and notice how the compressor gives us a couple options for controlling dynamics.
Watch the video to learn more >
The LA2A is a fantastic compressor for vocals, and this free emulation by Analog Obsession is no different.
Similar to the unit, there’s a preset threshold, attack and release time with program dependent variables included.
Let’s look behind the scenes and get a better idea of what makes it so useful.
So, by default and even without attenuation, the compressor is adding some very flattering harmonics - second, third, and fourth order harmonics are all present, with the odd or third harmonic slightly lower in amplitude.
So say the fundamental frequency of the vocal triggers the saturation, we’d have 2 perfect octaves above it being amplified, resulting in a musical sound. Meanwhile the 3rd order harmonic adds some musical complexity and fills the sound.
Once gain reduction is introduced, the harmonics become more aggressive, with asymmetrical waveshaping causing a complex formation of odd and even harmonics. Additionally, the internal side-chain can be used to shape the harmonics, emphasizing or de-emphasizing certain frequency ranges.
Just as importantly, the compression itself is incredibly smooth - what appears to me as a 4:1 ratio, with a softer knee will gradually control the vocal. Subtle non-linearity post threshold adds a little complexity.
Meanwhile, the longer release will likely cause any transient that’s after the vocal’s initial transient to be compressed.
Lastly, the compressor introduces a HP up to about 20Hz. and includes a small 0.6dB boost to 14kHz, which will add some very subtle air to the vocal.
Let’s listen to the compressor on a vocal, again in the context of the mix. Notice how the vocal’s first transient cuts through, but every subsequent transient in smoothed due to the long release time.
Watch the video to learn more >
OTT kind of gets a bad wrap for being too aggressive, but if used with subtle controls it offers a lot of flexibility regarding dynamics, the ADSR, the frequency response, and the harmonic content - it’s a surprisingly complex plugin.
The depth function is the wet/dry, and unlike most plugins, it’s absolutely needed to achieve a reasonable sound.
As I increase the depth, notice how the frequency response changes - OTT is acting like a tone shaper, causing the lows, mids, and highs to be smoothly, but aggressively amplified.
Meanwhile, signal that falls the threshold is amplified, while signal above the threshold is attenuated - meaning the plugin achieves both upward and downward compression.
So, say I move the high bands slider to the right, in turn increasing the threshold. I’ll cause more upward compression than downward - causing quieter details in the highs to be amplified, which as you’ll notice, amplifies the entire range.
Conversely, lowering the threshold will reduce the amplitude, causing the respective frequency range to be lowered.
This can be counteracted or just generally changed with the 3 frequency dials to the right of the bars.
When it comes to dynamics, this plugin is more of a MB limiter than a MB Compressor.
The low and mid bands have ratios of 1:66, while the high band is a brick wall limiter.
Since the plugin is constantly working, either in a downward or upward way, any change made is significant.
As you’d imagine, the distortion is pretty aggressive as well, with longer time settings resulting in lower distortion.
For vocals, this plugin offers a quick way to increase detail, control peaks, and add some audible harmonics - but remember to use lower depth values, otherwise the vocal will be completely changed.
Watch the video to learn more >
I picked this compressor for a much different reason than the others. Whereas each of the previous plugins offer a clean to moderately distorted sound, this plugin is kind of a mess.
What makes this compressor so distinct seems to have been patched out with recent updates, so to use the one I’m talking about, try version 1.8.5 or earlier.
The RMS and Peak options of the compressor are useful, and make the compressor more or less just like any other.
But what’s been removed from newer version is this fast option.
When combined with a 0ms attack and a 1ms release the vocal distorts in a one of a kind way.
The effect is almost lofi due to how much it compresses, and the significance of the harmonics and aliasing it introduces, something most plugins, even lofi plugins try to keep to a minimum.
The make up dial brings unpleasant breaths and noise forward, while adding to this kind of confusing smashed sound.
I know it’s weird for me to recommend you use a plugin with settings that sound this distinctly bad, but as a creative effect, I can’t think of another plugin that creates this sound.
Let’s listen to it on vocals, and let me know if you’re hearing the same really unique sound.
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