Plug In and Squish Down with the URS Classic Console Compressor

One of the beautiful things about using software plug-ins is that you can have many different types within a single song. I tend not to rely on one brand or style, instead opting for the sonic flavors each provides individually. With compressors, I liken them to fine wines complimenting a four star meal; sometimes you want that aggressive Cabernet Sauvignon from the Bordeaux region of France – sometimes it’ a smooth Shiraz from Southern Australia. The character of the song, like the meal, will generally dictate which one is necessary. Unique Recording Software (URS) recently released their Classic Console Compressor Bundle for Pro Tools TDM and Native RTAS – a tasty collection of two famous British console bus compressors sure to liven up any good feast. Aptly called the Compressor 1970 and Compressor 1980, each is available in two versions – compressor only or compressor/limiter/sidechain. The TDM version includes TDM, RTAS and AudioSuite with support up to 192 kHz. Native includes RTAS and AudioSuite, also running up to 192 kHz. Supported formats include Mono, Stereo and Multi-Mono up to 7.1. Running at 48-bit processing resolution, they both feature extra headroom to help avoid that nasty internal clipping that drives us all nuts. URS founder Bobby Nathan noted that most TDM plug-ins are only 24- bit, having 144db dynamic range. The 48-bit TDM Classic Console plug-ins provide 288db of dynamic range - so they don’t overload as easily as 24-bit versions.

Above: URS 1970 Classic Console Compressor.

Slammin'! The 1970 Classic Console Compressor looks like it came right out of a Neve console, and features totally independent compressor and limiter sections. The compressor only version features Input Level, Gain Makeup, Compression Ratio and Compression Threshold knobs. There’s also I/O plasma metering, Gain Reduction metering, a Compressor ‘In’ button and Attack and Release knobs. Simple, right to the point, and slamming. The Compressor/Limiter/Sidechain version includes additional sections with a Limiter In/Out button, Attack, Release and Limit Threshold for the Limiter. The Filter section has HPF and LPF knobs let you fine tune how narrow or ‘Broad Band” the compression and they do overlap with eachother. The filters are basically a set of equalizers that affect the frequency range of the signal being sent to the Gain Reduction circuit. This lets you ‘tailor’ your compression and provides some nice creative sounds (more on that later).

Above: 1970 Compressor/Limiter/Sidechain

Listen To Me Above the Filter I/O buttons sit the Listen Key, which allows you to monitor the signal being sent to that Gain Reduction circuit. The 1970’s ‘Brick Wall’ Limiter ratio is fixed at 1000:1, but the Variable Limiter Attack Time is 1-50ms with the Release Time variable at 50-1500ms. You can select compressor ratios of 1:1, 2:1, 3:1, 4:1, 6:1, 8:1, 10:1, 20:1 and Infinity. As with all of URS releases, it’s kind to your DSP. Both the 1970 and 1980 Compressor/Limiter/Sidechain versions do 9 instances per HD Accel chip, 4 per HD and 2 per Mix chip. With the Compressor only, it will do 17 per HD Accel, 8 per HD and 4 per Mix chip. With support up to 192 kHz, they also fully mapped for the ICON center section Dynamics Panel. Both also work with Win XP, Mac OS9 and OSX on Pro Tools 7.0. Totally Eighties The 1980 Compressor and Compressor/Limiter/Sidechain version are exactly like the 1970’s, except for the overall ‘SSL-like’ appearance and square dB meter. While the controls may be the same physically, the beauty is that each reacts differently in terms of sonics. My first test was using the 1970 full version on a Joey Kramer drum loop. Playing with the Threshold and Ratio, I was able to pull some of the room sound out, and then use Gain Makeup to punch it through the mix. Next I automated the LPF to provide me a filter effect (Side note: in Pro Tools, hold down the Command, Option and Control Key on any Knob to quickly enable automation). Then I played with the Limiter Threshold until I got it to sit just right, and frankly, I was sold. It delivered me a fat, warm sound that was more than just compression.

Above: URS 1980 Compressor

Next I placed the 1980 full version on a drum track for a project I recently recorded with Jerry Marotta. He played this massive world kit, with a huge kick drum and toms miked with just four channels. Again, I went through the process of tweaking the Compression, then pulled some unneeded 80Hz out of the kick with the Filters, finally limiting it so it didn’t get too loud. However, I found the 1980 to be a very aggressive sounding compressor, which was perfect for this application. It was the punchy ‘Cabernet Sauvignon’ I needed, and quite a bit different from the softer 1970 model.

Above: 1980 Compressor/Limiter/Sidechain

I also like the fact that the Gain Makeup control is inserted before the final Limiter, allowing you to properly adjust how hard you hit the ‘Brick Wall’. The 1980’s version features this style of limiter - which was actually not found on the original unit. Overall, I ended up using quite a bit of both the 1970 and 1980 in this project – as they were both simple to use and sonically ‘correct’. After extended use, I found my favorite application for both was as a bus compressor, which was their original intention back in the day. Alone or in combination with a Waves L3, they can just ‘grab’ those few notes that stick out and tuck them in. If you want to get a harder punch, I would go with the 1980. If you like it smooth and warm (and who doesn’t?), I would go with the 1970. As usual though, beauty is in the ear of the beholder – so see what fits you best. Wheelin' In the Years Both plug-ins also have a very cool ‘Wheel Function’ that allows you to place your cursor over the knob you wish to turn, and then dial in settings with your scroll wheel. I happen to use the ‘Expert Mouse’ Kensington trackball, and it worked without any setup. It’s kind of like hardware meets software, and I wish other manufacturers would enable this. Note that turning the track wheel to the left increases the knobs gain (or level) to the right. Once you quickly adjust to that, you’re rocking.

Above: A graph showing the theoretical number of mono instances of each compressor plug-in supported on TDM systems.

Latest & Greatest Make sure to always download the latest version - in order to keep up with any fixes or updates. To find out what version you’re running, click on the URS logo in the upper right hand corner of the plug-in and the number will be displayed. Simply click again to hide it. URS also noted that Audio Units and VST versions will be coming soon. Go ahead and download a free 10-day demo (iLok needed) at www.ursplugins.com. Then pour yourself a glass of red, relax, and throw a Classic Console Compressor on your mix. You won’t be sorry.