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The compressor is the most frequently used signal processor in the studio, and has been throughout the history of recording. Compressors have been used both to control the dynamic range of individual tracks and full mixes, and to achieve creative effects — many of which ended up becoming integral parts of the sound of hit songs and even entire musical styles. The IK Multimedia Vintage Compressors Bundle includes some of the T-RackS series’ most iconic and sonically pleasing compressor modules, in a complete package that’s well suited both for mixing and mastering.
These modules are timeless classics; at the same time each one uses a different and unique method to achieve compression — so they all sound different, in addition to sounding great.
Based on what is probably the most widely used compressor of all time for mixing duties, the 1176 Limiting Amplifier. FET (Field Effect Transistor) electronics are at the base of the sidechain circuit in this unit, and one of its peculiarities is a lightning-fast attack time, making it an ideal choice for percussive sources. On kicks or snare drums, it's almost "mandatory" to have one patched in. Nonetheless, it's at home on practically any source, from bass to acoustic guitars to vocals and more. The Black 76 model accurately reproduces the behavior of the original, down to the "all buttons in" mode for crazy compression effects, and is the perfect choice to give “personality” to any track that needs it.
This processing is based on the legendary Teletronix LA-2A, considered to be the "magic" compressor — one that you find on the "money channels," like lead vocals or lead instruments. The way it achieves compression is a work of art. The original hardware is based around a photo optical cell working together with a light-dependant resistor. This, and the tube-based electronics give it a warm, gentle and consistent compression, which is almost invisible at low settings —with more character and harmonics added as the signal gets more compressed. White 2A behaves exactly like its hardware sibling, with the same simplicity of controls, to achieve the "magic.” It’s most commonly used on vocals, but it can be applied on any source needing controlled compression and a subtle warm touch.
Based the Fairchild™ 670, it's often referred to as the "Holy Grail" of compressors. The T-RackS version, which resulted from a painstaking analysis of the original hardware, reproduces all the features that made the Fairchild the first modern, Variable MU, tube-based limiter. These include a tube signal path, the possibility to control dynamics of L and R channels or Lateral and Vertical components of the audio spectrum separately (the latter very useful for M/S processing in mastering jobs), and its particular time constants. Simply place it on the stereo bus of your DAW, and it will impart to your track that euphonic sound that only real great processors can produce.
As its name implies, this processer bases its gain reduction on an optical photocell design, which features a light source and a light detector. These types of components add a defined character to a track, making it sound larger than life, musical, and precisely imaged. This model incorporates the features an "ideal" optical compressor should have, where the non-linearities and distortion in the signal path totally nonexistent. As a result, it's very often the first call on sources like vocals, drums or bass when there is the need for a very "tight image" and control without coloration.
|Software Delivery||Electronic Delivery|
|Plug-In Format||AAX Native, AAX DSP, RTAS, AU, VST, Standalone|
|Operating System||Mac, Windows|
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