[总线压缩器插件]Slate Digital Virtual Buss Compressors v1.3.4 [WiN]（40Mb）

安装方法：直接安装，免激活版本，需要最新VC++2022系统运行库支持。

Virtual Buss Compressors 是一套由三个声音独特的动态处理器组成的套件，所有处理器都 100% 以顶级模拟母带设备为模型，因此非常适合节目材料。对真实模拟压缩器的每一个细微差别都进行了建模，包括其变压器、电子管、VCA、放大器的精确非线性特性、相位失真、谐波失真和时序。

FG-RED
这款压缩器基于经典的 RED 面压缩器，该压缩器一直是混音传奇人物 Chris Lord Alge 的最爱，几年前我访问他的工作室时，他第一次向我展示了它。我觉得这实际上很奇怪：这是这个似乎没有其他人真正使用过的压缩器，它的设置是 1.5：1，对于 Mix-Buss 压缩器来说，攻击看起来非常快。这令人费解，因为我通常将更快的攻击与瞬态冲击力的损失联系在一起，但如果你听过克里斯的混音，你就会知道它们与此完全相反！所以作为经典的齿轮，我买了一个，（我得到了带有输入和输出变压器的装置）。我做的第一件事就是把它放在我的混音中，按照 Chris 向我展示的设置……1.5：1,10/11点左右起音，自动释放，压缩2-3db顶部。和。。。。哇！这是我听过的最清晰、最有力的摇滚混音之一，来自我自己的扬声器。这个单位太棒了!!

当法布里斯和我分析红魔时，我们发现它确实是一头非常独特的野兽。攻击和自动释放以一种有趣的方式工作，并且非常具有音乐性，但我们发现真正的魔力是在输出部分！我们发现，仅仅将化妆增益推高几分贝就会对声音造成一些疯狂的事情！稍微推动一下，事情就变得更加有力、更胖、更有侵略性。经过更多的检查，我们意识到这是由于输出变压器引起的一系列非线性反应。Howie Weinberg，著名的母带工程师，在我们校园里有一个工作室，让我们知道一个小秘密：他使用他的 RED 不是为了压缩，而只是为了使用输出增益来获得惊人的效果！所以我决定做一些原单位做不到的事情……我把输出变压器效果放在一个名为DRIVE的旋钮上。当您按下 DRIVE 旋钮时，您会获得漂亮的冲击力和瞬态的清晰度，并且无论您是否使用化妆增益，您都可以控制您想要的量！著名的摇滚混音师贾斯汀·内班克（Justin Netbank）测试了FG-RED并喜欢这款驱动器，并建议将“6.6”作为神奇的数字。但是您可以尝试一直摇动它以获得有趣的效果！

FG-GREY
FG-GREY 从经典英国“4000 系列控制台压缩机”的非常精确模型开始。我使用硬件模型已经很多年了，但直到在建模过程中研究它，我才完全体会到这件作品有多壮观。它有一种能够收紧和“凝胶”混合物成分的方法，其方式可以从自动释放模式下的相当透明到手动模式下的非常激进。

我们在虚拟模型中对电路做了一个小的修改，我想你会非常喜欢的。我们采用了经典的英国分立式变压器，并将其一些特性添加到信号路径中。这对中音和底端的清晰度产生了惊人的影响，当您开始压缩更多时，硬件单元往往会开始吸出太多的底部。硬件单元在中音也会略微“窒息”，但我们的虚拟变形金刚舞台使底部保持大而圆润，中音更加开放，同时仍然保留了原始单元的经典声音。您会注意到底部的下降幅度较小，当您使用 FG-GREY 进行大量压缩时，丰富的中音仍然会很好并且存在——我喜欢它在手动和自动模式下，它在鼓和吉他上也很棒！

FG-MU
我很幸运地听到并使用了地球上一些最经典和最难找到的管式总线压缩机（如 Fairchild 670 和 Manley Vari Mu），让我告诉你，当你的混音通过一个设计精美的管子齿轮时，就会发生一些真正的魔力。中音变厚，低音变得更紧更圆润，高音端以美丽的闪光开场……更好的是，那些刺耳的中高音似乎也被驯服了。对于FG-MU，我们将所有这些美妙的品质都融入到算法中。要第一次体验 FG-MU，您甚至不必进行任何压缩，因为由于电子管电路路径的建模，只需在没有任何增益降低的情况下通过处理器就会显示优美的开放声音。即使我使用 FG-GREY 或 FG-RED，我也喜欢使用 VBC 机架，这样我就可以让音频通过 FG-MU！

但 FG-MU 本身就是一款令人惊叹的压缩器。如果您浏览预设，您将对它的功能有一个很好的了解。平滑丰富的压缩，脂肪温暖的压缩，甚至略带激进的压缩。总的来说，这是一款具有大量模拟魔力和氛围的处理器。您的 ITB 混音绝对会大受欢迎！

一个女巫说，

* 无需安装 iLok 驱动程序即可运行。

* 我们的版本加载速度更快，使用的内存比合法版本少。

R2R团队

Virtual Buss Compressors is a suite of three unique-sounding dynamic processors, all 100% modeled after top analog mastering gear and thus ideal for program material. Every nuance of real analog compressors has been modeled, including the exact nonlinear characteristics of their transformers, tubes, VCAs, amplifiers, phase distortions, harmonic distortions, and timing.

FG-RED
This compressor is based on the classic RED-faced compressor that has been a favorite of mix legend Chris Lord Alge, who first showed it to me when I visited his studio years ago. I thought it was odd actually: here was this compressor that nobody else seemed to really use, and it was on a setting at 1.5:1 and the attack looked very fast for a Mix-Buss compressor. This was puzzling because I usually associated a faster attack with a loss of transient punch, but if you’ve heard Chris’s mixes you know that they are the exact opposite of that! So being the classic gearslut, I bought one, (I got the unit with both input and output transformers). The first thing I did was put it on my mix in the settings that Chris showed me… 1.5:1, attack around 10/11 o’clock, auto release, compressing just 2-3db tops. And…. WOW! One of the clearest, punchiest sounding rock mixes I’d ever heard come out of my own speakers. This unit was amazing!!!

When Fabrice and I analyzed the RED, we found out that it was indeed a very unique beast. The attack and auto-release work in an interesting way and are very musical, but the real magic we found was in the output section! We found that just pushing the makeup gain a few db did some insane things to the sound! A little push and things got a ton more punchy, fat, and aggressive. After more examination, we realized that this was due to a series of nonlinear reactions caused by the output transformer. Howie Weinberg, the famous mastering engineer who has a studio on our campus, let us in on a little secret: He uses his RED not for compression, but just to use the output gain to get that amazing effect! So I decided to do something that the original unit cannot…I put that output transformer effect on a knob called DRIVE. When you push the DRIVE knob, you get a beautiful punch and articulation of the transients, and you can control just how much you want, regardless of whether or not you use the makeup gain! Famous rock mixer Justin Netbank beta tested the FG-RED and loves the drive, suggesting ‘6.6’ as the magic number. But you can try cranking it all the way for an interesting effect!

FG-GREY
The FG-GREY starts off with a very precise model of the classic British “4000 series console compressor”. I’ve used the hardware model for many years but I never fully appreciated just how magnificent the piece is until studying it during the modeling process. It has a way of being able to tighten and ‘gel’ the components of a mix in ways that can go from fairly transparent in auto-release mode, to very aggressive in manual mode.

We did a small mod to the circuit in our virtual model which I think you’ll really enjoy. We took the classic British discrete transformer and added some of its characteristics to the signal path. This does something amazing to the clarity of the midrange and bottom end, where the hardware unit tends to start sucking out too much bottom as you start to compress more. The hardware unit can also get slightly ‘choked’ in the mids as well, but our virtual transformer stage keeps the bottom big and round and the midrange more open, while still retaining the classic sound of the original unit. You’ll notice that there is a bit less of a drop in the bottom and the rich mids will still be nice and present when you heavily compress with the FG-GREY – I love it in both manual and auto mode, and it’s amazing on drums and guitars too!

FG-MU
I’ve been lucky enough to hear and use some of the most classic and hard-to-find tube buss compressors on the planet (like the Fairchild 670 and Manley Vari Mu), and let me tell you, there is some real magic that happens when your mix goes through a brilliantly-designed piece of tube gear. The midrange thickens, the lows get tighter and rounder, and the top end opens up with a beautiful sparkle… even better, those harsh upper mid overtones seems to get tamed too. For the FG-MU, we put all of these wonderful qualities into the algorithm. To experience FG-MU for the first time you don’t even have to do any compression, as just going through the processor without any gain reduction will reveal a beautiful open sound due to the modeling of the tube circuit path. Even when I’m using the FG-GREY or FG-RED, I love using the VBC Rack just so I can have the audio pass through the FG-MU!

But the FG-MU is an amazing-sounding compressor in its own right. If you scan through the presets, you’ll get a great idea of what its capable of. Smooth rich compression, fat warm compression, and even slightly aggressive compression. Overall, this is a processor that has tons of analog mojo and vibe for days. A sure hit on your ITB mixes!

A witch says,

* No iLok Driver installation is required to run.

* Our release loads faster and uses less memory than legit version.

Team R2R

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