![]() ![]() has not licensed any intellectual property for use in the Lindell MBC, nor have they endorsed or supported the MBC in any manner. which is unaffiliated with Lindell Audio. The names 500-series, API, 2500 are trademarks of Automated Processes, Inc. ![]() Legal Disclaimer: The Lindell MBC plugin was developed by Lindell Audio using their own modeling techniques, studying original products from API®. When you are looking to solve problems and reshape sounds while adding some upfront and assertive character, the MBC has your back. In addition to being perfect for regular mixing, the multiband characteristics of the MBC make it even better suited to mastering applications and working from stems. You can even select between “feedforward” and “feedback” operation, or decide exactly how much the left and right channels should interact with each other. A special sidechain filter circuit applies optional low cut and high boost to the compressor’s detector. The MBC is full of features for adjusting the color of your compression, like Lindell’s added “SMASH” button for extra crush on drum tracks and vocal performances. Unique features for custom-tailoring your compression Give vocals plenty of squeeze without undue sibilance, and much more. Add some control to the midrange of your drums without adding artifacts to your cymbals or weakening your kick drum. But with its multiple bands, it does so much more: Use it to split process your bass, getting tight, well-controlled lows without over-compressing your mids. Just like the single-band version, the MBC is a must-have on the mix bus. Now with three independent bands for separate compression of lows, mids and highs, the MBC solves even more problems and opens up more possibilities than its predecessors.Įasily split process your bass, get more transparent drum compression, and even greater vocal control Transparent yet assertive, smooth yet punchy, this style of VCA compressor is a perennial favorite on mix bus, drums, vocals, bass, and any source that demands aggressive compression without compromising on tone. Same great tone with extra power and flexibility Now, the new MBC brings this iconic analog bus compressor to the multiband domain. With the release of the SBC, Lindell Audio provided an exacting emulation of the original API® 2500 compressor-one of the most popular stereo bus compressors of all time. I don’t think that the “Release Time” really is in seconds - it seems to be a much longer time scale and needs to be set to a very low value to achieve a useful effect.Smooth, punchy glue, now in multiband form Setting the “Fast compression ratio” to minimum (0,0) appears to catch these transients so that they are compressed the same as the rest of the audio. When set at maximum (1.0), sudden peaks in the original signal may be missed by the main compressor (due to the time that it takes for the compressor to react). This set of plug-ins is rather old and Steve Harris is no longer maintaining them, other than continuing to host them so that they are available as a free download.Īs far as I can make out from trying the effect, the “Fast compression ratio” control appears to be a kind of peak limiter. The official documentation for the Dyson Compressor is here: He has attempted to provide basic documentation for each effect, but the documentation is very brief and in some cases incomplete. Steve Harris collected these plug-ins from multiple sources and made them available as a single download package from his website. It is part of the “Steve Harris” set of LADSPA plug-ins. The “Dyson Compressor” is a third party plug-in (not made by Audacity). I’m using audacity 2.0.5 on a windows 7 x 32 system. I was searching the internet but couldn’t find anything about the dyson compressor except some very superficial considerations. Choose from 40+ versatile presets ranging from classic control to new over-the-top configurations. Only in the beginning there is a slight elevation which is only about 0.1 s (or even less) and wouldn’t change when I adjust the ‘fast compression ratio’. Consequently i couldn’t make out any release time. I finally figured out, that all the compressor did was reducing the level, no matter if the signal was above or below the peak limit. Later, i wanted to know it exactly and generated a sine-signal with an amplitude of -2 dB and used the Envelope-Tool to reduce the volume at some points abruptly, just to find out if the release time works, as soon as the signal falls below the ‘peak limit’ - which i thought to be the threshold - that i adjusted. At least, I thought, it must be something to do with attack, which is usually specified in seconds - or better mili-seconds. At first I was only wondering what this 'fast compression ratio’ really meant. ![]()
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