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The release has three settings, from 300 milliseconds to 1.2 seconds. This reduced feature set belies the compressor's sonic scope, and it takes more time than you'd expect to familiarise yourself with how it behaves. The controls are the same in limiter mode, but the threshold and the ratio are both higher. The original didn't have an input gain control of its own, and I count this as one of several improvements that also include the ability to select a sidechain or various stereo sources for the gain reduction. The action can be controlled using only an input gain knob and a release time knob, the latter of which has six discrete settings. The ratio and attack are similarly hard-set. In compressor mode, the threshold is set permanently low, another reason for its relative tightness. This rolloff isn't there in this version, but apart from that, the compressor leads to radio mixes if used everywhere: bright, tight, and assertive. This is also partly why, when it's in compressor mode, elements often sound tighter, and mixes sound less muddy. #MIXCHECKER FROM AUDIFIED REVIEWS UPDATE#Apparently, a future update will allow you to turn this off in compressor mode, and it'll be welcome. The rolloff in question, which you'll find on the U73b's compressor mode, was a feature of broadcast compressors, and it'll significantly cut the lower bass region, which makes it unsuitable for use on kicks with a low, 808-style tail, or very low basslines. In particular, the lack of a bass rolloff made it possible to use it for this application. The soft knee in this mode made it not too aggressive. In its limiter mode, I found it to be a great tool for the master bus, where it imparted kaleidoscopic detail across the whole mix and glued it together. On the drum bus, the auto release settings allow it to handle a percussive submix, where the sounds have various lengths of decay. This makes sense given that originally it would have been handling the drum, guitar and vocal stems of a band. It sounded at home on tracks with long or continuous sounds, as well as on buses. ![]() #MIXCHECKER FROM AUDIFIED REVIEWS FULL#On the kind of bass sounds that have a full pluck and a long tail, like a bass guitar, it brought the sound out and controlled the bass regions. The original became the fastest tube compressor ever designed, and on snares, it's got an attack that's quick enough to be able to control the transient well. I found it particularly effective on tonal percussive elements such as high toms, where it gave them a resonating quality and let them cut through the mix a lot more. It tends to clear sounds up, and if you use it on multiple tracks across a mix, it results in a mud-free, musical, vibrant sound. The result is wonderfully detailed high-mids with lots of depth. This is attributable to the modelling of the valves, which add harmonic distortion to a sound. Its primary virtue is the way it brings things out in the mix. Physical modelling can produce stout results, and the U73b has great strength of character. #MIXCHECKER FROM AUDIFIED REVIEWS SOFTWARE#In making their re-creation, Audified took apart an original unit and built a software model based on the physical behaviour of each of its components. It gained traction as a mastering compressor used immediately before cutting to vinyl, and it was a common feature on European lathes between 19. It was a vari-mu compressor, a type of valve compressor in which the ratio increases as the signal goes further above the threshold. The original was a 1950s broadcast compressor from West Germany designed to high specifications by Telefunken in response to standards set by the Institut für Rundfunktechnik, the research institute for broadcasting organizations. With Audified's U73b, there comes one more. Emulations of expensive hardware are common, and although the most fuss tends to be made over the ones that imitate classics, there are plenty of lesser-known pieces of gear that have inspired great plug-ins as well. ![]()
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