When it comes to features in plugins, some are of course true to the hardware they emulate. Others being new designs have the liberty to include what they like. It’s a mixed bag; here are 5 features we’d like to see in every dynamics plugin.
Auto Makeup Gain
It’s an easy mistake to make when you are new to mixing, but even the most seasoned can fall into the trap. We spend time setting up a compressor thinking it’s making a lot of difference, but most of what we think are improvements are simply the difference in volume between the original and the effected version.
Some dynamics plugins include auto-makeup gain, for example the PSP Audioware Infinistrip does a good job of level matching as processing controls are changed. However there’s plenty, even those not emulating vintage gear, that don’t do it.
Even better, what a great feature it would be to have in a DAW, where you could select this option on all or some of the channels so as you applied plugins the volume wouldn’t change. It’s not easy as it could mess with the gain structure when setting certain plugins, but it’s not impossible and could prove very handy for some of us.
Mix Control
Reverb and delay plugins have a mix control so why not all compressors and limiters? It’s a very handy feature for a number of reasons. First, you get instant parallel compression without having to worry about routing and also the possibility of issues with latency creating phase problems. Secondly you get to check between the original and the effected version at the turn of a knob. It’s far less brutal than hitting bypass.
You might think that this option is reserved for modern plugins such as the Focusrite FAST compressor, but it’s also a handy option on plugins like the excellent brainworx Masterdesk or the Acustica Arctic compressor plugin.
A Delta Option
Nope, not an alternative airline in case of a missed flight. Simply put, the delta option enables you to just hear the difference signal. It’s helpful when setting attack and release time to ensure you are catching the right transients and not having the compressor hang around for too long.
A small number of audio plugins land with a Delta Solo button, with some DAWs’ stock tools featuring them across the board. This function allows the engineer to hear only the difference between processed and unprocessed audio. Examples would include hearing only the chopped-off peaks from limiting, or a cut frequency notched out of an otherwise great sound. That said, delta solo remains a luxury for many users of audio plugins with provision found mainly with third party solutions.
You can read more about Delta here and also how to create your own, should you wish to try.
Sidechain
When people refer to side chain compression they usually mean external side chain compression. All compression uses a side chain. The side chain is the signal which is being monitored by the detector i.e. the signal which is controlling the gain reduction. This is usually the signal, which is having the gain reduction applied to it but it doesn’t have to be. When an external signal is controlling the compressor it is referred to as side chain compression.
In a modern DAW setting up a sidechain is simple, some DAWs make it easier than others, for example Studio One has a great side chain set-up process. However the actual plugin needs to offer the feature for a side chain to work.
Sidechaining has many uses in modern music production, as Ronan McDonald wrote in his excellent article 7 Sidechaining Techniques Worth Checking Out. Sidechaining was once regarded as a purely functional mixing tool, now sidechain compression has become a key weapon in the creative arsenal of producers across all genres.
It can be enormously frustrating not to have this option on some compressors.
Compressor Range
‘Range’ or ‘Depth’ controls limit the gain reduction available in a compressor, setting a maximum possible amount of compression. Standard compressor parameters give detailed control over when and how compression begins as a signal gets louder. Range gives some extra control over what happens as the signal continues to rise.
Range can protect you from unintentional over-compression allowing you to run with a lower threshold than you otherwise might, to grab the sound early without hitting the compressor harder than you intended on the loudest peaks. Range can also reduce the need for automation of the threshold and can offer an alternative to parallel compression if you have ever used that to dial back the compression effect.
Summary
We all love a nice vintage compressor plugin, but surely one of the benefits of a plugin is the ability to do things not possible with the original hardware.
What do you think? Have we covered all the bases here? Leave a comment about what you’d like to add to the wish list.