by lathouRnd Portico 5043 Compressor Crack EXCLUSIVE
Rnd Portico 5043 Compressor Crack
for a stereo compressor, the mbp controls the amount of compression and the amount of high-pass filtering, which is controlled by a single slider. the slider has a high-pass filter built in that has a slope that can be adjusted, making the mbp one of the most flexible compressors around. in mono mode, it has two trs connections that can be routed to one of the tracks in the mixer, and the high-pass filter controls one side of the compressor.
i tested the mbp in two different configurations. in the first configuration, i set the high-pass filter at 12db/octave, which is the standard rupert neve high-pass filter, and allowed the compressor to have a slider control. this setting is referred to as “the standard rupert neve compressor” and is quite typical of rupert neve designs.
in the second configuration, i adjusted the high-pass filter to have a slope of 8db/octave, which is a more aggressive slope than the typical rupert neve setting. this setting is referred to as “the aggressive rupert neve compressor” and is quite typical of rupert neve designs. most rupert neve compressors i have tested use a 12db/octave high-pass filter.
the mbp can be configured in two different modes. in “mix” mode, the compressor is linked to the stereo mixer, and the two tracks can be mixed independently. in “master” mode, the compressor is linked to a bus, and the compressor tracks are linked together to form a stereo compressor. in either mode, the compressor tracks can be used independently or linked together. in “mix” mode, the mbp allows two tracks to be independently mixed and the compressor to be applied to the master bus.
the compressor/limiter works very well in conjunction with the gate/expander/ducker, which includes three controls: threshold (same as the compressor/limiter), ratio (same as the compressor/limiter) and makeup gain (can be set up to a specific level for the compressor/limiter to ignore) for each band. the three bands are high, mid, and low, and the threshold and ratio controls can be engaged at different volume ranges for each band. for example, the mid band can be engaged when the master gain level is greater than about +6 dbu, and the threshold and ratio controls can be engaged by holding the knob in the appropriate position. the makeup gain knob can be set for each band to add extra gain to the channels for best-sounding balance. this is useful if the overall level of a channel is quite low, or if you want to add the gain of a compressor to a bus for high-end monitoring purposes. the makeup gain knob can also be set to the compressor/limiter’s release setting for the same purpose.
the class a dynamics section offers two compressors: one for the kick and one for the snare. each compressor has its own control section with its own gain reduction meter and individual level controls. the compressors respond to the led meters and can be set to fast attack or slow attack, and the ratio (3:1) and ratio (1:1) can be selected.
to add some punch to the kick, the threshold control can be set as high as +10 dbu, but the volume control ranges from 1 to 10. so the compressor will respond more quickly at higher volume levels. you can also change the threshold when it reaches the threshold control to a preset level. the limiter is set to a hard knee, 1 khz cutoff and a release time of 1 ms. these features, along with the bypass switch, and the ability to set the threshold to 2 dbu above the input level, make the compressor extremely flexible.
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