Using the Sidechain (SC) Filter is a good mastering tip.
Depending on the material, both of them are quite usable options. This control has two unique settings:'soft', which allows for more transparent transients, and 'brick' which completely cuts off signal peaks. The stepped attack and release controls provide times comparable to those of the well-known SSL compressor unit, with attack periods ranging from.1 to 30ms and release times ranging from.1 to 1.2 seconds (also featuring an auto setting). If you're looking for a mastering compressor that simply increases perceived loudness without adding character and movement to your music, you'll be better served looking elsewhere however, if you're looking to add texture and life to your program material, the VSC-2 will deliver the results you're looking for. In addition to having a distinct vintage character, the VSC-2 is a fantastic tool for adding colors and 'glue' to your two-buss and/or masters. UAD and Brainworx flawlessly executed this replication of the first hardware unit from Germany's Vertigo Sound. When seeking the capability of an SSL buss compressor, but with a different sound taste, the VSC-2 Quad Discrete Compressor from Vertigo Sound is a go-to compressor. With that in mind, let's have a look at our selection of the best mastering compressors available. Some are more transparent, while others are better suited for creating an individual timbre. Mastering compressors can be classified as transparent or timbre-generating. Similar to equalizers, you're unlikely to discover a big music release from the previous 60 years that didn't make use of compression at any time throughout the production process, whether it was during the recording, mixing, and/or mastering stages.Ĭompressors should be versatile enough to handle a variety of scenarios, or at the very least, to provide a pleasing tone while mastering music. Compared to their early days, they now have a plethora of additional features. The transients of kick and snare drums can also be changed, attacking the drums more or less noticeable for example, Additionally, because many early hardware compressor units were tube (valve) based, engineers took advantage of the fact that they had a rich tonality to them, which made them excellent for adding harmonic content to recordings, among other things.Īs technology progressed, so did the capability of compressors, which increased as a result. Compressors can make signals more consistent in their dynamic range, making it easier to balance them against one another. Music engineers gradually discovered that compression, which was originally utilized in the broadcast sector to prevent over-modulation of radio waves, could be used for a variety of other purposes. Perhaps, except equalization, there is no audio processor more important to the audio engineer than a compression processor.
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