I’ve upload a few quick comparison files.  AUTO = AUTO setting. MAN = Manual settings

I’ve also included the blind test files from Mr. de la Mancha himself
“you get the dry audio first, then 2 wet samples, one is the hardware dbx165A, the other the software sixtyfive (not necessarily in that order) I’d be really interested to see how you think they compare. Can you tell which is the hardware?”

dlM sixtyfive & DBX 165a comparison. by Rhythm In Mind

I record a lot of hard percussion, Udu & Tabla are the hardest to get to sit in a mix. They have very FAST attack with sustain at times. It’s hard to get both to translate. Anyways I recorded some BS perc noodling to see how the OS would handle them.. I’m impressed. Checkout the end of the Udu test, The low doom sounds have a nice harmonic/grit added to them from the OS.

Compaholic part 2. by Rhythm In Mind

As a test I let my Flame clockwork & Moog voyager run random & got behind the drum kit to play along. I stuck one OS on the drum bus, & one on the Moog bus. The drum bus OS  really brings out some resonance & glued punch to the kit. The other added some nice dirt/body to the synth. I’ll share more “analytical” thoughts/test files shortly once i’m off my gear high, but all in all these things just sound great & have a feature set I’ve been needing for some time now.  Highly recommend.

Audio Examples. (FYI – Lowend/Sub is a bit out of control)

Hello, my name is Eric, and I’m an Compaholic. by Rhythm In Mind

Compaholic part 2.

For those that want to contribute, the more the better. Upload a before & after examples of the compressor being used.  Or download my raw wav files & contribute to the list.  Feel free to upload the examples into my drop box & I’ll post the results.

Upload

Drum Bus Comp Comparisons

No buss compression MP3 No buss compression MP3
No buss compression WAV
SSl Duende Listen Mic Comp SSl Duende Listen Mic Comp
SSL Duende Bus Comp.wav
SSL Duende Bus Comp.mp3 SSL Duende Bus Comp.mp3
UAD SSL Bus Comp.wav
UAD SSL Bus Comp.mp3 UAD SSL Bus Comp.mp3
WAVES SSL Bus Comp.wav
WAVES SSL Bus Comp.mp3 WAVES SSL Bus Comp.mp3
SSL Duende Channel Strip Comp SSL Duende Channel Strip Comp
URS 1975 URS 1975
URS CSP URS CSP
emi TG 12413 plugin emi TG 12413 plugin
FMR RNLA FMR RNLA

I usually use parallel compression so the listen mic & X-Comp are my most used for that task.

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Track Compression for Kick,  Snare,  & synth Bass

compressor-comparison-kick-raw-189.mp3 compressor-comparison-kick-raw-189.mp3
compressor-comparison-kick-raw-189.wav
compressor-comparison-snare-raw-190.mp3 compressor-comparison-snare-raw-190.mp3
compressor-comparison-snare-raw-190.wav
compressor-comparison-synth-bass-raw-191.mp3 compressor-comparison-synth-bass-raw-191.mp3
compressor-comparison-synth-bass-raw-191.wav

DBX 165a

compressor-comparison-dbx-165a-kick-196.mp3 compressor-comparison-dbx-165a-kick-196.mp3
compressor-comparison-dbx-165a-snare-197.mp3 compressor-comparison-dbx-165a-snare-197.mp3
compressor-comparison-dbx-165a-synth-bass-195.mp3 compressor-comparison-dbx-165a-synth-bass-195.mp3

DBX 903
903-kick.wav
903-kick.mp3 903-kick.mp3
903-snare.wav
903-snare.mp3 903-snare.mp3
903-synth-bass.wav
903-synth-bass.mp3 903-synth-bass.mp3

DBX 160X
dbx-comparison-dbx-160x-kick.wav
dbx-comparison-dbx-160x-kick.mp3 dbx-comparison-dbx-160x-kick.mp3
dbx-comparison-dbx-160x-snare.wav
dbx-comparison-dbx-160x-snare.mp3 dbx-comparison-dbx-160x-snare.mp3
dbx-comparison-dbx-160x-synth-bass.wav
dbx-comparison-dbx-160x-synth-bass.mp3 dbx-comparison-dbx-160x-synth-bass.mp3

DBX 166 blackface

compressor-comparison-dbx-166-kick-193.mp3 compressor-comparison-dbx-166-kick-193.mp3
compressor-comparison-dbx-166-snare-192.mp3 compressor-comparison-dbx-166-snare-192.mp3
compressor-comparison-dbx-166-synth-bass-194.mp3 compressor-comparison-dbx-166-synth-bass-194.mp3

DBX 586

compressor-comparison-dbx-586-kick-198.mp3 compressor-comparison-dbx-586-kick-198.mp3
compressor-comparison-dbx-586-snare-199.mp3 compressor-comparison-dbx-586-snare-199.mp3
compressor-comparison-dbx-586-synth-bass-200.mp3 compressor-comparison-dbx-586-synth-bass-200.mp3

Duende Channel comp

kick-duende.wav
kick-duende.mp3 kick-duende.mp3
snare-duende.wav
snare-duende.mp3 snare-duende.mp3
compressor-comparison-duende-channel-comp-synth-bass-209.mp3 compressor-comparison-duende-channel-comp-synth-bass-209.mp3

UAD SSL Channel comp

uad_kick.wav
uad_kick.mp3 uad_kick.mp3
uad_snare.wav
uad_snare.mp3 uad_snare.mp3

FMR RNLA

compressor-comparison-rnla-kick-204.mp3 compressor-comparison-rnla-kick-204.mp3
compressor-comparison-rnla-snare-205.mp3 compressor-comparison-rnla-snare-205.mp3
compressor-comparison-rnla-synth-bass-206.mp3 compressor-comparison-rnla-synth-bass-206.mp3

URS 1970

compressor-comparison-urs-1970-kick-210.mp3 compressor-comparison-urs-1970-kick-210.mp3
compressor-comparison-urs-1970-snare-211.mp3 compressor-comparison-urs-1970-snare-211.mp3
compressor-comparison-urs-1970-synth-bass-212.mp3 compressor-comparison-urs-1970-synth-bass-212.mp3

URS 1975

compressor-comparison-urs-1975-kick-213.mp3 compressor-comparison-urs-1975-kick-213.mp3
compressor-comparison-urs-1975-snare-214.mp3 compressor-comparison-urs-1975-snare-214.mp3
compressor-comparison-urs-1975-synth-bass-215.mp3 compressor-comparison-urs-1975-synth-bass-215.mp3

URS 1980

compressor-comparison-urs-1980-kick-216.mp3 compressor-comparison-urs-1980-kick-216.mp3
compressor-comparison-urs-1980-snare-217.mp3 compressor-comparison-urs-1980-snare-217.mp3
compressor-comparison-urs-1980-synth-bass-218.mp3 compressor-comparison-urs-1980-synth-bass-218.mp3

AM-Track

compressor-comparison-am-track-kick-219.mp3 compressor-comparison-am-track-kick-219.mp3
compressor-comparison-am-track-snare-220.mp3 compressor-comparison-am-track-snare-220.mp3
compressor-comparison-am-track-synth-bass-221.mp3 compressor-comparison-am-track-synth-bass-221.mp3

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Price = $YouDecide

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Buss Compressor Beta now open.

Download – Beta

Features -

Soft/Hard Knee compression

M/S encoding Key input “Fine tunes the compressor focus”

For NAG free versions pay what want. Pay what you feel these are worth.

Price = $YouDecide

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Dynamics/Gate -

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FFC-1 - Feed-Forward Compressor

Key Features.
NEW – External Side-Chain Input
- Detection Filters & Drive
- Key listen
- Channel Link/Unlink

Download FFC-1

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LVA-1 - Leveling Amplifier

Key Features.
- Smooth characteristic
- Unlinked/Linked stereo image processing
- Detection Filters & Drive
- Key listen

Download LVA-1

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FBC-1 - Feed-Back Compressor

Key Features.
NEW – External Side-Chain Input
- Detection Filters & Drive
- Key listen
- Channel Link/Unlink

Download FBC-1

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LIM-1 - Hard/Soft Limiter

Key Features.
- Hard/Soft modes
- Channel Link/Unlink
- Classic limiter sound (Not to be confused with modern brick-wall limiters)

Download LIM-1

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OPT-1 - Optical Compressor

Key Features.
- External Side-Chain Input
- Detection Filters
- Optical Intensity
- Key listen
- Channel Link/Unlink

Download – OPT-1

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EXP-1 - Dynamic Expander

Key Features.
- Restores dynamics
- Fast attack capability
- Detection Filters
- Key listen
- Channel Link/Unlink
- External Side-Chain Input for creative effects.

Sharing many of the same components of the widely liked FFC-1, EXP-1 is it’s reverse parter in crime.
Need to restore some dynamics to a squished mix, To much reverb on those drums tracks, or want to key trigger a synth pad off a sidechain? Check this guy out.

Download EXP-1

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GMP-1 - Gate.

Key Features.
- Fast attack with attack smooth.
- 0% noise floor 100% reduction
- Side-Chain
- Channel-Link/Unlink (stereo operation)

Gates are widely overlooked tools. Unlike some this gate is designed to give clean fast attack with drums/bass in mind.

Download – GMP-1

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EQ/Filters -

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FSP-1 - Filter-Shelving-Parametric-Equalizer

Key Features.
- Classic EQ functionality
- HighPass filter
- Dual Q modes

Download – FSP-1

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GEQ-1 - 10 band equalizer

Key Features.
- 10 bands of equalization
- 13 dB of boost/cut per band
-”Proportional Q” narrows filter Q at extremes
- Q width control.

Download – GEQ-1

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P3Q-1 - 3-Band Parametric EQ

Key Features.
- FPC mode (Filter Phase Compensation). EQ’s by nature modify the phase of the frequencies they boost/cut. FPC reintroduces the phase canceled signals from the EQ filters. This may or may not be desired depending on the EQ application.
- Hyper extended Q
- EQ IN switch for A/B comparison

Download P3Q-1

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EQH-1 – High frequency EQ

Key Features.

- FPC mode (Filter Phase Compensation). EQ’s by nature modify the phase of the frequencies they boost/cut. FPC reintroduces the phase canceled signals from the EQ filters. This may or may not be desired depending on the EQ application.
- Hyper extended Q
- Band-pass to help select frequency to modify.
- (+/-) 30db of gain.
- 12 or 24db Filter Slopes.

Download EQH-1

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EQM-1 – Mid frequency EQ

Key Features.
- FPC mode (Filter Phase Compensation). EQ’s by nature modify the phase of the frequencies they boost/cut. FPC reintroduces the phase canceled signals from the EQ filters. This may or may not be desired depending on the EQ application.
- Hyper extended Q
- Band-pass to help select frequency to modify.
- (+/-) 30db of gain.
- 12 or 24db Filter Slopes.

Download EQM-1

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EQL-1 – Low frequency EQ

Key Features.
- FPC mode (Filter Phase Compensation). EQ’s by nature modify the phase of the frequencies they boost/cut. FPC reintroduces the phase canceled signals from the EQ filters. This may or may not be desired depending on the EQ application.
- Hyper extended Q
- Band-pass to help select frequency to modify.
- (+/-) 30db of gain.
- 12 or 24db Filter Slopes.

Download EQL-1

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Peak-1 – Low frequency EQ

Key Features.
-Push/Pull style Cut & Boost.
- Slope control.
-Width control.

Download Peak-1

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Peak-2 – Mid-Range frequency EQ

Key Features.
-Push/Pull style Cut & Boost.
-Slope control.
-Width control.

Download Peak-2

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Peak-3 – High frequency EQ

Key Features.
-Push/Pull style Cut & Boost.
-Slope control.
-Width control.

Download Peak-3

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LFS-1 – Low frequency Shelf EQ

Key Features.
-Push/Pull style Cut & Boost.
-Slope control.
-Width control.

Download LFS-1

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HFS-1 – High frequency Shelf EQ

Key Features.
-Push/Pull style Cut & Boost.
-Slope control.

Download HFS-1

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LPF-1 – Low-Pass Filter

Key Features.
-Slope control.
-Extended range mode

Download LPF-1

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HPF-1 – High-Pass Filter

Key Features.
-Slope control.
-Extended range mode

Download HPF-1

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SUB-1 - Low Frequency Management

Key Features.
- 0-200 hz High-Pass/ Low-Pass modes
- Filter / Shelf EQ modes
- Slope width
- Cut / Boost

Download SUB-1

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Enhance/Color -

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SAT-1 - Saturation Enhancer

Key Features.
- Tape/Tube Models
- Flexible design to provide both subtle & extreme coloring.
- Soft-Clip Limiter
- Wet/Dry Control

Download – SAT-1

MSD-1 - Mid/Side Decoder

Key Features.
- Made to decode M/S recorded signals. (M/S Microphones)
- Mid/Side level control
- Mid/Side polarity

i/o info =
input 1 = Mid
input 2 = Side
output 1&2 = M/S mix

Download MSD-1

MSE-1 - Mid/Side Encoder

Key Features.
- Made to encode & separate stereo signals into Mid/Side information.  (Tip use both the encoder & decoder inline to process stereo content.)
- Can decrease or extract Mid/Side information. ( extract ambiance from a recording. Raise or cancel out center channel vocals.
- Mid/Side level control
- Mid/Side polarity

i/o info =
input 1&2 = stereo input
output 1&2 = M/S split or mix

Download MSE-1

I’m a compressor freak so i started one day with the question can i create a compressor with Tassman? Well it seems that you can. It was a bumpy road trying to get them to do what i wanted but i think i got it.
Check them out let me know of any issues.

Download The Feed Back (Smooth) – Neve like

Download The Feed Forward (Punchy) – Like a DBX

More info – Feed Forward designs take the control voltage directly from the input, and are generally more suited for fast limiting work while Feed Back compressors take some of their control voltage from the output, which is often interpreted as more musical-sounding. In theory, either design can be used for any application. However a bit of practice is required as threshold, attack, and release affect the sound differently depending on the feed structure.
Feel free to make improvements i would love to make them as nice as it can be.

SH-2×4::

Inspired by Ultra Analog & the Roland SH-201. I wanted to make a powerful but easy to use synth. 2 OSC, 4 LFO, 2 Filter, 2 Amps with Distortion. I have setup every stage as A & B corresponding to the OSC with the same Label. Enjoy.
Check them out let me know of any issues.

Download The SH-2×4