| STRIPBUS Console
emulation bundle
Console emulation and
bus compression
|
|
|
An
inside view of the console emulation bundle
Works
in progress |
|
| NEW
in Strip v.2 |
|
| New
console models |
|
Two
new console models are available.
Console
"C" is from solid state channels. It is very
colored with pronounced mids.
Console
"D" is from tube channels. It is very
transparent, with great bass range dynamics. |
|
| Hi
filter |
|
A
new mode menu is available for each filter.
Now
each filter can be bypassed.
"Dynamic"
is the original filter from v.1 (see below)
New
filters are available in static and dynamic form.
Depending
on the filter mode the knob changes its function. Look
at the lower hint field for a reference. |
|
| Mid
filter |
|
"Dynamic"
is the original filter from v.1 (see below)
A
new "static" mode is available. |
|
| Low
filter |
|
"Dynamic"
is the original filter from v.1 (see below)
"HP"
are highpass filters, with several modes
"Reso"
is a high pass filter with resonance
"Proxy"
is a highpass filter with a pronounced resonance at its
cutoff frequency. Great to make the bass more defined or
to emulate proximity effect on voice for a warmer effect.
Great for bracketing (assigning frequency ranges to
parts of the mix), too, and for "tuning" drums.
Each
filter is available in static and dynamic form |
|
| Desks |
|
Now
the instances of Strip can be grouped in "Desks".
There
are eight desks available. Instances in each desk share:
|
|
| Global
extra headroom |
|
The
new control sets additional headroom for the whole desk.
Increase
it to reduce operating level inside the channels and to
give more headroom (less saturation and leveling) in
crowded mixes with lots of instances. |
|
| Inter-channel
crosstalk |
|
Audio
leaking among channels is now emulated.
There
are three levels and two modes available (six options
plus off).
Lo,
Mid and Hi select three different levels of the
crosstalk.
LAl,
MAl and HAl (Lo aligned, Mid aligned and Hi aligned) are
the same values but crosstalk audio is time aligned to
original audio.
Time
alignment requires increasing latency (reported to host),
so it is an option.
Changing
to an aligned mode and back requires switching the Strip
off and on to activate the reporting to host.
An
instance can freeze its internal buffer when bypassed
from the host's control. Switch it off or bypass by its
menu instead.
Crosstalk
output is instance based (not linked), while the audio
from an instance contributes to the whole desk even when
the menu is off. |
|
| Noise |
|
Optional
background noise is now available.
Background
noise could add dynamics and resolution to some sources.
Three
levels (Lo, Mid and Hi, plus off) are available.
Noise
is dynamic, its level is related to input audio. Add a
trivial noise generator before Strip if you need
constant background noise (a dithering plugin could be
useful). |
|
| Available
in Strip v.1 |
|
|
Strip - Hi filter
|
|
Strip
includes three dynamic filters. They are very broad and
weak. They have been added as mix-balancing filtes. Use
host's equalizer or other plugins for surgical
equalization.
Hi filter
acts as an attenuation filter (values lower than 50%) or
an amplification filter (values higher than 50%). It is
disabled in its center position.
As an
attenuation filter, its attenuation changes slightly
with signal level, getting slightly less attenuation
with higher levels (to enhance attacks).
As an
amplification filter, its amplification decreases while
signal level increases, for a smoother effect. When well
balanced it brightens attacks, prevents harshness,
sustains high frequencies.
The
behaviour of the filters changes with general signal
level. Use input gain and output volume to set how the
filters work. |
| dry
sample |
A
drum loop. The high filter is on panoramic
microphones, two mono tracks (left and right)
through a stereo group. |
| processed |
Brightening
the drumset, still sounding natural. |
| download
preset |
|
|
|
| Strip
- Mid filter |
|
Mid filter
acts as an attenuation filter (values lower than 50%) or
an amplification filter (values higher than 50%). It is
disabled in its center position.
As an
attenuation filter, its attenuation is static. It is
useful to set the general presence of the track. I.e.
mid attenuation on pads set them far from the listener.
As an
amplification filter, its amplification decreases while
signal level increases, for a smoother effect. When well
balanced it gives presence.
The
behaviour of the filters changes with general signal
level. Use input gain and output volume to set how the
filters work. |
| dry
sample |
Guitar
on drum and bass loop. |
| processed |
Reducing
guitar's presence |
| download
preset |
|
|
|
| Strip
- Low filter |
|
Low filter
acts as an attenuation filter (values lower than 50%) or
an amplification filter (values higher than 50%). It is
disabled in its center position.
As an
attenuation filter, its attenuation is static. It is
useful to set the general low-frequency content of the
track. I.e. remove very low frequencies from snare
microphone.
As an
amplification filter, its amplification decreases while
signal level increases, for a smoother effect. When well
balanced it gives bass presence and sustain.
The
behaviour of the filters changes with general signal
level. Use input gain and output volume to set how the
filters work. |
| dry
sample |
Drum
and bass loop |
| processed |
Enhancing
bass sustain |
| download
preset |
|
|
|
| Strip
- Ducking |
|
Tracks can
be linked to get some attenuation on background tracks
when a front track comes in.
A slight
amount of ducking "glues" the tracks together
and creates a slight movement in the mix.
A good
control on volume priorities can help while applying
heavy compression on a mix. |
| dry
sample |
Voice
and guitar |
| processed |
The
voice ducks the guitar |
| download
preset |
|
|
|
| Strip
- Console models |
|
The
consoles have been modeled after a solid state console
and a tube console.
Differences
include not only how the channels saturate but how they
manage dynamics, how transformer core saturate, and
more.
Insert an
instance of Strip on each track or on groups for a full
console emulation. |
| dry
sample |
A
mix (drums, bass, guitar) |
| processed |
The
tube console adds color and glues the tracks
together, while enhancing dynamics |
| download
bank |
Strip
on each track (bassdrum, snare, panoramics, bass,
guitar) |
|
|
| Bus
features |
|
| Bus
- Internal structure and mid-side compression |
|
|
Bus
unit includes an incredibly versatile set of
compressors.
The main
special feature, needing a good understanding
for the right use as a compressor, is that it
CAN work as a mid-side compressor. For normal
use, set mid-side knob at 50% (full stereo
signal).
The picture
beside here (top diagram) describes the
internal structure of the mid-side compressor.
Mid-side
encoder combines left and right channels to
extract mid and side information.
Mid-side
control sets which part of the encoded signal is
sent to the compressor's input and which part
(the remaining part) not.
The compressed
part is then amplified through makeup control
and then re-combined in the mid-side decoder
with the missing part.
Extreme
settings are:
- mid-side 50%
(full). The full signal goes to the compressor
- mid-side 0% (mid).
Only the mid component (if any) is sent to the
compressor, while the side component (if any) is
sent directly to the decoder (right)
- mid-side 100%
(side). Only the side component (if any) is sent
through the compressor, while the mid component
(if any) is sent directly to the decoder (right)
Any
intermediate position of the mid-side control is
allowed.
Please NOTE:
the makeup gain is applied only to the
compressed component. This is the same as a
common makeup control when mid-side is set to
full signal (50%, full), but it is different
from a common compressor when anothe mid-side
value is set.
Given that the
compressed signal almost certainly will have a
level different from the level before
compression, mid-side compression requires fine
mid-side balancing through makeup control.
Please NOTE:
mid-side control is NOT a mid-side balance! You
can use it to fine tune mid and side contents,
but it changes which component of the signal is
compressed, too.
How to use
mid-side as a simple mid-side balancing control:
-
set ratio to 1:1 (no compression)
-
set mid-side to 100% (side)
-
use makeup to balance at will
Please
NOTE: the meter shown the level of the signal
going into the compressor module, NOT the input
to the device (see upper diagram).
This can be
confusing at first. These are some apparently
weird cases:
- hi signal
level, black needle (input) not moving. Answer:
the signal is centered and mono and mid-side is
set to side. No side component, no input to the
compressor
- the needle
shows a value different from the input to the
device. Answer: mid-side is set to an
intermediate value, the compressor is getting a
component different from input signal
The bottom
diagram shows a blow-up of the compressor module.
Three details
may be considered "special" as
opposite to a common general purpose compressor.
1) The input
stage (linked to the output stage) is a time and
phase aligned splitting module. Bus allows
parallel processing, like mixing compressed
signal to an amount of dry signal. It is useful
for several reasons like NY style compression.
Parallel
processing requires a perfect time and phase
alignment between dry and processed signal. Bus
manages a copy of the dry signal and keeps it
perfectly time and phase aligned to the
processed signal, allowing a mix through the Mix
(wet-dry) control. NOTE: set Mix control to full
wet for common compression.
2) The signal
path contains a pre-processing and
post-processing system to preserve low frequency
and high frequency content of the processed
signal. Move side-low and side-high controls
away from 0% to hear it in action. NOTE: it is
NOT a sidechain equalizer.
3) The
sidechain contains a limiter (max-GR) to the
gain reduction applied by the compressor. NOTE:
timing is after max-GR, for a smooth response.
See other sections in this tutorial page for a
deep description of Max-GR use. |
|
|
| Bus
- Compression curves |
|
(click
to enlarge) |
Static
compression curves in Bus are designed according
to the original ones from the modeled hardware
devices, with some adjustments and improvements
to make them more usable in the digital
emulation.
Both the
hardware devices emulated feature a threshold
(the input level above which it start
compressing) which changes with the ratio
setting.
In Bus the
curves have been carefully modeled. A slight
modification included aligning the discrete
curves in a common 0dBfs (max digital level)
point.
See the picture
for a detailed description.
The hardware
compressors emulated feature discrete ratio
settings. The emulations in Bus have been
improved, being ratio control continuous. Any
value between mix:1 and max:1 (2:1 and 10:1 in
the picture) can be selected, without
discontinuities.
Another
improvement consists in ratio values between 1:1
(no compression) and min:1. These values are not
available on original hardware devices.
Looking at the
picture beside here, with increasing ratio value
from 1:1 to min:1 the special shapes from the
straigth 1:1 curve to 10:1 curve are obtained.
With increasing
ratio values from min:1 to max:1 the shapes in
the picture from 1:1 to 10:1 are obtained. These
are the orignal curves in the hardware device
and infinite intermediate curves.
Given this
variable threshold behaviour, you could
experiment a weird feeling of loosing
compression while increasing ratio, at first.
This is because moving ratio value fro 2:1 to
10:1 the threshold is increased and the level of
the signal could become insufficient to get any
compression.
Plese note: Thr
control in Bus cannot set a precise threshold
value, of course. It corresponds to a vertical
shift of the compression curve. A thr value of 0
corresponds to the original curves in the
picture beside here. A greater value corresponds
to the same curve shifted down by that value. |
|
|
| Bus
- Max gain reduction control (Max-GR) |
|
(click
to enlarge) |
Bus
features an incredibly useful "max gain
reduction" (Max-GR) control.
It limits the
amount of gain reduction applied by the
compressor.
The detector
evaluates input signal level, computes a
compression value needed to follow the
compression curve, then "compares" it
(less simple than that but this is the concept)
to Max-GR. If the amount of gain reduction
needed is higher than Max-GR, it is "limited"
to Max-GR.
This is a
feature of some hardware compressors/limiters
and an option of some other models.
One use of this
Max-GR feature is preserving the sound of signal
peaks. Referring to the picture beside here,
when the signal level is in the lower 1:1 region
it passes untouched (no compression). When it is
in the 10:1 region it is compressed. When it is
even higher, in the upper 1:1 region, the amount
of gain reduction is fixed (= Max-GR) and the
shape of the signal is untouched, just shifted
down by Max-GR amount.
Keeping the
peak the same shape, it gives more natural
sounding compression.
For peaks
preservation:
-
set Max-GR to oo (no action)
-
set the compressor to get a fair amount of gain
reduction (GR) (i.e. 10dB)
-
decrease Max-GR to a value lower than GR (i.e.
9dB)
-
GR - Max-GR (i.e. top 1dB) is the range of
preserved peaks |
|
|
| Bus
- Upward compression with Max-GR |
|
(click
to enlarge) |
One
special kind oc compression is "upward"
compression, as opposite to standard "downward"
compression.
In downward
compression signal levels above a threshold are
reduced by means of an automatica attenuation.
This changes the shape of the loudest region of
the signal and can lead to bad sounding audio.
In upward
compression, on the contrary, high levels are
untouched while low levels are amplified.
This gives as a
result an increased perceived loudness because
of reduced dynamic and an higher level for the
low level passages. Music sound like at an
higher "pressure".
Bus features
Max-GR control, it can be used for perfect
upward compression. If the curve obtained in the
previous picture (Max-GR) is shifted up by means
of makeup gain (an amplification of the
compressed signal) the result is the curve
depicted in the picture beside here.
Higher levels
are untouched (upper 1:1 region), while lower
levels are amplified.
To get upward
compression:
-
set-Max-GR to oo (no action)
-
set the compressor to get a good compression
with a low threshold (i.e. 25dB)
-
decrease Max-GR to reduce the amount of gain
reduction applied to the signal (i.e. 10dB)
-
increase makeup to compensate for
compression and get the original peak output
level
-
move threshold for the best result |
|
|
| Bus
- Upward compression with Mix control |
|
(click
to enlarge) |
Upward
compression can be obtained by means of parallel
compression, too. While the concept is very
similar, results are slightly different.
Parallel
compression consists of a copy of the dry signal
being compressed and mixed to the dry signal.
The copy affects only the lower levels because
its level is reduced above a threshold and so
the mix tends to the original dry signal.
While Max-GR
upward compression follows the compression
curve, paralell compression follows an
intermediate curve between 1:1 and compression
ratio, leading to 1:1 again for higher values.
Parallel
processing requires precise time and phase
alignment between the dry signal and its
processed copy, to avoid cancellation due to
phase issues. Bus includes a perfectly time and
phase aligned internal parallel bus. Parallel
processing is available through the Mix control.
To get parallel
upward compression:
-
set Mix control to 0% (wet signal)
-
set the compressor to get a good compression
(i.e. 20dB) with a low threshold (i.e. 25dB) and
a high ratio (i.e. 10:1)
-
increase mix value to 100% (dry signal).
Starting from there, slowly decrease Mix to add
an amount of processed signal to the dry signal
-
adjust threshold and mix for the best result.
Threshold sets the top of the upward compression
low level region, mix sets how much low levels
are amplified |
|
|
| Bus
- Saturation |
|
The
consoles have been modeled on the Bus unit, too.
All
the combinations of consoles and compressors have been
included, making any tube/solid_state 4k/76 combination
available. |
| dry
sample |
A
mix |
| processed |
Master
bus saturation, no compression (1:1 ratio) |
| download
preset |
|
|
|
| Bus
- Signal path |
|
Input and
output gains are fixed (0dB, passthrough).
Sat
controls the amount of saturation going on (automatic
level compensation).
Makeup
control sets compressed signal gain.
Only the
compressed part of the signal is affected by makeup
gain.
Being
these mid-side compressors, the part of the signal sent
to active compressor's unit depends on mid-side setting.
input
-> mid/side -> compressor -> makeup -> sum
-> wet-dry -> output
input
-> mid/side complement -> sum -> wet-dry ->
output
The
default position (50%) of the mid-side control is fopr
standard full-signal compression. The whole signal is
sent to the compressor.
Mid
position sends the mid component of the signal to the
compressor while the side component is mixed back to the
compressed signal.
Side
position sends the side component of the signal to the
compressor while the mid component is mixed back to the
compressed signal.
Any
intermediate combination is available. Compression
changes processed signal level, be careful to balance
mid and side components at will (through makeup control)
when using a compression mode different from full signal. |
| dry
sample |
A
mix |
| processed |
Heavy
mid compression |
| download
preset |
|
|
|
| Bus
- Gain reduction limiting - Better peaks |
|
Compressors
feature an useful gain_reduction_limit (GR-limit)
control.
It sets
the max compression available. When an amount of
compression greater than GR-limit is required by the
compressor, only GR-limit level reduction is applied to
the signal.
This gives
the interesting resul of limiting the signal up to a set
level and letting it pass through untouched over the
limit.
Low levels
are untouched, mid levels are compressed, peaks are
untouched (while translated to lower levels).
It is very
useful for a more natural sounding compression, mainly
with high amounts of compression. |
| dry
sample |
A
mix |
| processed |
Heavy
compression, peaks untouched |
| download
preset |
Tube
console 4k compressor, 10:1 ratio, high
threshold, fast attack and release, 10 dB gain
reduction (when max-GR is oo), 7dB max-GR |
|
|
| Bus
- Gain reduction limiting - Upward compression |
|
The same
as above but with very low threshold for upward
compression.
Upward
compression is raising the low levels instead of
reducing the high levels.
It makes
low components of the mix louder, giving a sensation of
more "pression", while keeping peaks untouched
and more natural sounding.
The
difference from the previous example is in the level
"band" affected by the compression (much lower).
Auto
release is useful to avoid pumping. |
| dry
sample |
A
mix |
| processed |
Heavy
upward compression to bring ambient up and
increase low level passages volume |
| download
preset |
Tube
console 4k compressor, 10:1 ratio, -30dB
threshold, fast attack and release, 10 dB gain
reduction (when max-GR is oo), 7dB max-GR |
|
|
| Bus
- Parallel compression and NY style |
|
Parallel
compression (or "New York style") consists in
mixing an amount of dry signal to the compressed signal.
A direct
mix of dry and processed signal could cause signal
degradation because of imprecise time and/or phase
alignment.
Bus unit
includes an internal sample accurate and phase aligned
wet/dry mix control, for a simple parallel compression
effect.
Parallel
compression is very useful to get a more natural
sounding compression. |
| dry
sample |
A
mix |
|
processed_simple
processed_parallel |
Heavy
compression
Same
compression, parallel processing, same resulting
rms level |
| download
preset |
|
|
|
| Bus
- Sidechain and improved frequency response |
|
High
levels of compression can compromise low and high
frequency components of the processed signal.
Fast
release time distorts bass frequencies, high compression
can make high frequencies sound dull.
Bus unit
includes a special sidechain "circuit" for
better control of low and high frequencies quality. It
is NOT a simple sidechain equalizer.
Side-low
restore low frequencies. Increase for more action.
Side-high
restore high frequencies and gives back "air".
Increase for more action. |
| dry
sample |
Drums
and bass loop |
|
processed_no_side
processed_low
processed_high |
Heavy
compression, no sidechain options active
Same
compression, side-low 30%
Same
compression, side-high 80% |
| download
preset |
|
|
|
| Bus
- Mid-Side compression - Enhancing image |
|
Compression
can affect stereo image of a mix. Bus unit includes a
special "circuit" to preserve stereo image.
Mid-side
control sets the components of the signal sent through
the compressor, while the remaining components are mixed
back to the compressed signal (after a makeup gain
control on compressed signal). |
| dry
sample |
Drums
and bass loop |
|
processed_simple
processed_mid |
Heavy
compression on full signal
Same
compression, 25% mid-side control, more
compression on mid component, less compression
on side component |
| download
preset |
|
|
|
| Bus
- Mid-Side compression - Mid compression |
|
An
interesting creative use of compression is compressing
just the mid component of the mix and mixing back the
untouched mid component. It preserves a lot of the
original stereo image while giving punch to the mid
component. |
| dry
sample |
Drums
and bass loop |
|
processed_simple
processed_mid |
Heavy
compression on full signal
Same
compression, 0% mid-side control, compressing
just the mid component |
| download
preset |
|
|
|
| Bus
- Mid-Side compression - Side compression |
|
Another
interesting creative use of compression is compressing
just the side component of the mix.
It gives
more presence to ambient and stereo width while
preserving original signal qualities (mid component
untouched and summed back). |
| dry
sample |
A
mix |
| processed_simple
processed_side |
Heavy
compression on full signal
Same
compression, 100% mid-side control, compressing
just the side component |
| download
preset |
|
|
|
| Bus
- Auto release and program dependant compression |
|
Both the
hardware compressors modeled in the Bus unit feature
program dependent release time. It is an option in 4k
model while it is a fixed feature in 76 model.
We have
choosen to make it optional or both.
Program
dependant release sets faster release (the value set by
rls knob) for transient-rich signals while sets slower
values (going to max value) on steady-state signals. |
| dry
sample |
A
mix |
|
processed_simple
processed_auto |
Fast
compression
Auto
release mode prevent pumping |
| download
preset |
|
|
|
| Bus
- More samples and presets |
| A
drum loop processed through Bus by rocaro
"...It was
interesting how the MAX-GR poti turned to the left
really made the punch that i wanted, while it was still
rounding transients. Its gently leveling while having a
bit musical pump." |
|
|
