The mpressor can deliver the most extreme compression without degrading the original signal. Transparency and punch will always prevail, both in everyday compression jobs and when really cranking things. The mpressor has some special features like negative ratios, auto fast attack, anti-log release, and a gain reduction limiter. These powerful controls make the mpressor more of a creative tool, rather than just a way to control dynamics.
The mpressor includes functions you want find on any other dynamics tool: Anti Log release, which begins slowly during the initial release time and then accelerates; the Gain Reduction Limiter, which sets the maximum amount of gain reduction allowed regardless of threshold; negative ratio settings which invert the compression effect; and the Niveau Filter, which provides a simple but flexible tone control. These functions make the mpressor a unique creative tool set apart from all other dynamics processors, and are all faithfully modeled in the mpressor plug-in.
Auto Fast, when engaged, reduces the attack time of the mpressor for signals with fast or loud transients automatically. This can be a real life-saver when you want to grab the transient attack of a signal without affecting the tail of the signal too strongly or resulting in audible distortion.
If you are aiming at intentionally obvious and creative compression, it definitely makes sense to turn things upside down and use an anti-logarithmic release curve instead of more unobtrusive logarithmic or linear curves. In Anti Log mode, the release time will be longer at the beginning, and once the input signal starts to decline, the release time will become faster as a result. With this feature you can create many exceptional compression effects just by the push of a button.
In a typical compressor, the ratio is the amount the signal is reduced above the threshold. For example, with a ratio of 2.0, if an input signal is 4 dB above the threshold it will only be 2 dB louder than the threshold. With a negative ratio of -2.0 that same input signal would be roughly 8 dB quieter than the threshold point. As you can imagine, this can produce some very interesting compression effects.
Its main function is to change the proportions between high and low frequencies. The principle is quite similar to a pair of scales: Dependent on the gain setting around a variable center frequency, the high frequencies are boosted whereas the low frequencies are attenuated (or vice versa). By simultaneously boosting and cutting the selected frequency areas, it is much easier to influence the character of a track ('bright' vs. 'dark') compared to using other types of equalizers.
This special limiter is not placed in the audio path where you would usually find it, but in the control path of the compressor. When it is activated, it limits the control voltage according to the setting of the GR Limit controller. This means: No matter how high the input level might become – the amount of gain reduction will never exceed the value which you have set. Loud parts in an arrangement can keep their dynamics, as they will not be compressed beyond the limit of the Gain Reduction Limiter.
mpressor Front Panel