Classic bus compressor shoot-out

Which wins for full frequency processing? Let’s program some lush, wide strings and see…

01 >

We start by programming an eight-bar string sequence using Vienna Symphonic Library’s Dimension Strings; Violins 1 and 2, Violas, Celli and, for the second half, double basses too. We group all five parts together so that they can be processed on a single stereo fader and we use EQ to remove over-resonant frequencies.

02 >

We use the UAD Neve 33609 compressor first, disabling its limiter section. In the compressor, we set threshold to offer up to 8dB of compression, with a ratio of 3:1. We use the second Automatic Recovery (release) speed which feels pleasingly musical. We set output volume at around -5dB, which we’ll match through the following examples.

03 >

The next compressor is an emulation of the Manley Variable Mu compressor. This produces a silkier, warmer sound, with Threshold set to match that of the 33609 and a medium Recovery Speed chosen, again, for musicality. With input and output settings designed to match the previous example, the difference in sound is striking.

04 >

Enter the UAD Fairchild 670. This compressor is sensitive enough that settings to match those above sound over-compressed. So we provide compression at around -4dB and set output level to match. The ‘Time Constant’ switch is again placed centrally for musical response times.

05 >

We turn next to Native Instruments’ homage to the LA-2A; the VC 2A. The more limited feature set here means you can dial in the amount of compression you want on the right and the amount of make-up gain on the left. Notice how well this plugin copes with the arrival of the double basses.

06 >

We turn to a compressor with a reputation for Rolls Royce levels of sleek for our final example; the SSL G Bus Compressor. We set threshold to offer up to 4dB of compression, set medium attack and automatic release and choose a ratio of 4:1.