![]() As with the original, this model has the four ratio‑select buttons, attack and release controls, a threshold control and make‑up gain. The old 1176 worked on just about anything and always managed to make things sound a bit larger than life, as well as being good as a stereo limiter. The plug‑in windows leave you in no doubt as to which hardware units are being modelled, although their layout differs slightly from the hardware versions. The extra controls drop down below the main plug‑in window, where there's also the option to place a low‑cut filter in the side‑chain. Having a wet/dry mix control built into the compressor means you never have to worry about delay mismatches and the phase problems they create. The low‑level compressed signal adds weight and thickness to the sound, but the original retains its dynamics, so peaks are not crushed. The usual technique is to set the compressor to produce massive amounts of compression, then mix it back in with the dry sound at around ‑15dB. A side‑chain input has been added to all three models for the creation of ducking and similar effects, as has a parallel compression feature that allows the dry sound to be mixed with the compressed sound, an approach that's currently very popular. Softube have an enviable reputation for high‑quality modelling, but for these compressors they've also included some features that aren't present in the hardware originals. If you don't own any other NI products, you can download and install the free Guitar Rig 4 Player for this purpose. Unlike most conventional plug‑ins, however, they have to be hosted by another NI plug‑in that has an effects rack, such as Guitar Rig 4. Designated VC76, VC2A and VC160 respectively, the plug‑ins are available separately or as a bundle at a discounted price. ![]() Vintage Compressors from Native Instruments was created in collaboration with Softube and comprises plug‑in emulations of three classic compressors: the Urei 1176, Teletronix LA2A and Dbx 160. Like most of NI's recent plug‑ins, the Vintage Compressors need to be run within a host such as the free Guitar Rig Player 4. How about EQ? Boost the bass before compression for a rhythmic pumping effect that can sound great for kick-driven music such as house or techno, or after for 'clean' bass boost without affecting the compressor's action.NI's take on the Holy Trinity of compressors adds some neat extra features that make them more versatile. For example, reverb placed before compression can give a source sound that 'compressed room mics' sound, whereas placing the reverb after the compression will give a less 'reactive', studio-style sound, since the reverb itself won't be compressed. The order in which other effects are placed can also make a huge difference to the results. This can be very useful in a mastering or precision mixing scenario, where you need something to sound like it hasn't been processed at all! For instance, instead of one compressor performing 4dB of gain reduction, you might use two compressors giving 2dB each. Using compressors in series also allows you to spread the workload. ![]() By using two complementary units together like this, it's possible to harness the general levelling behaviour and vibe of the first alongside the clinical peak control and clean sound of the second - great for recreating the feel of outboard gear 'in the box' while retaining the precision that modern processors are known for. A practical example would be using a slow acting compressor such as Native Instruments' Vari Comp, which is modelled on a classic valve design, followed by a more modern compressor like an SSL clone or digital compressor with lookahead.
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