COmpression -

less known face of acustica Audio

"Do not underestimate the power of compressor" - he said, then walked away without a word...

Yes,  you can roughly describe this story as a nightmare dream of all those, who despite having countless of plugins still are not satisfied with their mixes.

This rather odd interlude quite precisely defines the subject of today's article, which will be compression and more specificall the plugin compressors manufactured by well-known to you already Acustica Audio.

It will be quite comprehensive and (hopefully) reliable collective review showing a second and in my opinion still a little less known face of the Italians of AA. As it will be a summary article, I will try to bring you today not one but several plugin devices that in my opinion is really worth checking.

They will be: TAN, ULTRAMARINE3, LIME BUS C compressor (about which I wrote on the occasion of a recent review of the LIME channel strip), and last but no least the PINK compressors bundle.

So sit back and try to forget for a while about everything that does not apply compression...

Compressors. For many still inscrutable and complex devices for unspecified almost mystical properties.

Meanwhile, they are not at all particularly difficult to understand or much less mythical devices.

The problem with the proper understanding of their working to a large extent is related to the fact that the vast majority of those who do not understand the midst of compression has never used the real hardware.


Usually the truth is that you only need to try a good real analog compressor and everything became clear.

Each of you mainly will have or has at least a couple of plugin dynamic processors, which on numerous ways try to convince us of their proximity to the analog precursors. While today's modern plugin equalizers are often really great and very convincing, in terms of software compressors - to achieve the analog result still is not an easy task (many say even that it's a kind of impossible mission).  Not without reason it is said that as long as any self-respecting whether project or home studio can successfully cope without any analog equalizer that quite easy can be replaced by the digital domain, each type of recording/production studio right at the very beginning of its activity should seriously consider buying at least one true analog compressor...

In fact beyond all conventional qualities "they" adds something special to the sound.

"Something" that has so far allowed the almost instant distinguish it from even the best software reproduction...

The difficult of properly mimic all the circuits and mechanics of the real hardware compressors, almost three-dimensional width of the sound generated by the physical components, deep warmness and amazing motion of all tracks that pass through it... first of all, it is extremely difficult to precisely define this mentioned above "something" that escapes the framework established by the written word. All these factors make it in spite of rapidly evolving technology to distinguish true analog compressor still does not present an unacceptable problem. 


But... there's still Acustica Audio. A small company, which thanks to its formidable technical solutions has revolutionized the world of plugin equalizers (by the way, their preamps, consoles emulations, reverbs and tapes are equally great). Although there was no particular secret that for a long time the AA team worked intensively on digital - analog like compressors - the quality of which resemble they aforementioned equalizers, but the technology used by the Italians quite a long time prevented the success of this mission. 

The target, though precisely defined was not so easy to realize. The game entered after not only the reputation of the Acustica Audio itself, but above all the real sought - after compression containing all what characterizes a true analog hardware dynamic processor. Acustica Audio with its usual modesty worked and decided not to informed about the progress until they were sure that their target is not impossible to achieve...

So far I have mainly been describing their equalizers. About their compressors I write something more about the time of reviewing the latest fourth NEBULA .  If I happened to mention about "them" before, I did it rather marginal and somewhat neglect. Was there some particular reason? Well, not really. It just so typically consisted, that before I interested mainly in their equalizer/console/preamps stuff.  Besides, I was also aware that the Acustica Audio compression did not match the quality of their equalizers...

Now, instead came a moment of great rectification! 


Years of work have borne fruit. Acustica Audio finally found a way that allows them to create highly exceptional, true and accurate compression. The appearing of the eighth-generation engine of AQUA plugins brought us the hugely powerful robust dynamic processors, the quality of which is reminiscent of their already legendary equalizers. All indicates that Acustica Audio has entered another, even higher level. I'll tell you that for all the years of observing the development of the VST format, probably I have never heard or felt something like that before.

Since it all begin with the introduction of the eighth generation of the CORE engine, I just can not start otherwise as to introduce you to the first compressor which was equipped with this engine...

I'm talking about TAN, about which is worth to write at least for a few reasons...


Firstly it is free! Yes, that's correct! Acustica Audio decided to simply give it to us! So, everyone (after registering on the AA website) can quickly just download and tryout the compressor on their own and to do it in my opinion simply it is necessary.

Secondly, TAN is a great recreation of today's probably most known classic British bus compressor, which over the years has been said probably everything...

So we move to England and specifically to Oxfordshire, where is waiting for us... well you guessed it.

TAN is based on the award-winning compressor, which is an integral part of the legendary 4K G console, through out which over the past several years went almost every top hit platinum record of the world.

The main advantage of this compressor is its ability of extraordinary glue each individual track of the mix.

Because of its circuit, (based on double reduction VCA) it can cope with the dynamic control of such complex instruments as a piano or drums.


"His" huge punch and distinctive sound makes it the ideal choice - especially when working on a single, whose main destination is the emission in the radio.

What is hidden under the hood of TAN?

TAN, just like its analog prototype has a very unique, "its own special", easily recognizable character.

It adds aggressiveness and what is very important, at the same time is sufficiently transparent.

TAN Makes that every track immediately find its place even in the most dense mix (that it becomes also more powerful). If we look at the TAN through the prism of the real physical unit,  it is a little slower (and thus also a little less precise). Sometimes, especially in the faster songs "he" may a little pump...

In other immediately noticeable aspects differentiating TAN from their original analog sequentially; no auto release parameter, and the inability to generate so-called auto fading directly from the compressor. 

As this compressor costs nothing, anyone couple collecting various dynamics processors without hesitation should reach it. In the end, a good 4K kind of compressor is never too much...

You should also check TAN  due to its preamp section, which (after switching) can be successfully used in the correlation with other available on the market emulation of this classic dynamics processor.

I assure you that even if you decide to use TAN only in such context, one way or another you will notice the difference right away. Of course, in addition to preamplifier TAN is mainly the compression, which given the slower capturing transients (of course compared to the original), generally speaking, even if its less precise it is still very faithful.  TAN is really interesting performed solidly piece of software, which makes a final difference and last but not least, gives some idea on the question of how act the real G bus compressor. 

Just set the parameters of the attack and release so that the compressor corresponded with both the tempo and atmosphere of the mixed song, then set the ratio at 2:1 or 4:1 and from this moment your mix is transforming into almost finished and great sounding song.

Although in the market there is no shortage of successful emulation of this timeless finalizer, sincerely I urge you to check also this version offered us by Acustica Audio. You will not be disappointed...


So when it comes to TAN It's probably all.


Time to look at the next hero of today's article. A hero through whom (although this type of travel are possible only in Hollywood) we will go far in the past.... Directly to the times, in which there are no digital and the music as we know it today was jet to be born...

Here it is...

ULTRAMARINE 3, so that we can take advantage of the stereo reproduction of the undisputed king of all limiters, which undoubtedly is the classic 670 Vari-Mu limiter. The limiter, which all sound nuances contrary to what might seem today are extremely difficult to mimic in the realm of digital software world...

Here comes the developed and patented by Acustica Audio technology called "Vectrorial Volterra Kernels" by which it is possible to active and very accurate multi-level sampling almost every analog hardware.

The original construction of this famous limiter dates back to the early fifties.

Created by Rein Narma - American engineer of Estonian origin, who entered the books of history thanks to the design and construction of a mixing console for the one and only Les Paul.

Legend has it that from that moment the famous guitarist (this is not explicitly and formally confirmed) strongly supported Rein at his work over both the scheme and the proper construction of the first unit, which owes its name to Fairchild Equipment Corporation under whose patronage and banner finally was produced and released to the market.

At first it was used mainly as a safety device during manufacture and stamping of vinyl.

With the development of technology and the record industry, it changed its destiny by becoming a widely respected broadcast limiter used in the emerging radio stations. Since then, its position and fame grew symmetrically to the rate at which developed independent recording studios, the result of which was awarded the title of World Accepted Standard For Level Control. Recognized worldwide standard in the field of control the sound level, which at that time was not only an unprecedented event but the real novelty.

Although relatively early (because since the end of the fifties) appeared on the market at least several other structures of a similar application, the original still remained the most common and most frequently used limiter studio derived from that period...

ULTRAMARINE 3, like its hardware progenitor is divided into two sides of the signal. Left and right (both have independent potentiometers allowing to control the flush and discharged the signal).

Just like its famous physical counterpart, ULTRAMARINE 3 can operate in two modes. 


The first, called colloquially LEFT / RIGHT and the second derived directly from the fifties called LATERAL / VERTICAL, through which we get the opportunity to work under mid side mode (that was used formally during the production of vinyl records).

Unlike ULTRAMARINE 3, the original hardware have no possibility of linking settings.

As the compressor does not have the common today adjustable ratio, to obtain a stronger compression we use a Input gain where in the post-combustion our compressor to a suitable, desired power...

The original phisical (and thus also ULTRAMARINE3) compressor is commonly known as Vari-Mu (Vari-Mu is the term for the tubes), in which any compression is achieved mainly by using tubes.

The reduction of gain is achieved while due to a process called biasing, during which varied (reduced) level of the voltage flowing to the tubes of the compressor.

The original design is almost thirty pound colossus dealing with really a lot of space (six rack spaces).

The mainly reason for this is the large number of tubes which are the core of its design.

Suffice it to say that the hardware bears a twenty tubes and eleven transformers...

This is real classic that scratch from the beginning did shine and to this day still is impressive.

Classic, which follows years escapes the framework of time. In fact, they can be described in only one way...

It is simply immortal. Even today, in a very modern musical productions "he" is the ultimate warrior, which thanks to its very rich, deep and beautiful sound still is a precise and deadly weapon.

After the run of ULTRAMARINE 3, the plugin greeted me with very realistic interface, which means me hypnotized...















Straight from the beginning I felt that I was dealing with a very successful product, but when I started to test the possibilities of ULTRAMARINE 3, I lost it in so strongly that I'm not only completely forgot about passing of time,

but (what happened to me probably for the first time in my life) of coffee that I left somewhere out of consciousness until he lost all her warmth and aroma. Let this event will be the additional recommendation for this compressor.

ULTRAMARINE 3 in my opinion is all what we can expect from the classic Vari-Mu dynamics processor.

Its sound is really refined. Noteworthy is also the perfectly mapped preamplifier section, which gives a greasy flavor - very faithful to the original analog unit.

Acustica Audio seen to it that the plugin had a number of additional parameters to help us use it daily.

So, we have the opportunity to creatively mix the pure unprocessed signal with the processed by the compressor. 

We have an extensive and reliable sidechain section.

We have the ability to influence the behavior and the shape of the attack the compressor (this option is not available in the original device).

Finally, we also have all useful modes like: stereo, mono and mid side (thanks to the possibility of independent working both sides of the pan, greatly expands the opportunities of the compressor - making it an extremely useful also in the highly precise mastering procesor).

We also have a great, very well sampled tube saturation and really well captured the character of the output transformers.

So, as you see ULTRAMARINE 3 offers so a lot...

This compressor presents the latest ninth installment of the engine (CORE9), through which the compression is very fluid. Both the interface and the plugin itself behaves impeccably.

The use of ULTRAMARINE 3 is as easy as pie. Just set the desired threshold of the compressor, choose one of the six classic settings of TIME CONSTANT potentiometer and once again listen to the mixed track of the project.

If we want to ULTRAMARINE 3 to worked harder on our signal (with a higher ratio) just use the input gain,

by which our virtual tubes warms up, thus increasing the input level of the compressor.

In this way (so it behaves hardware), we get a stronger natural saturation of preamp tubes...

TIME CONSTANT is nothing but a set of hard rigidly fixed attack and release adjustments. This solution is used for years in every self-respecting Vari- Mu type compressor. ULTRAMARINE 3 is of course no exception.

The programmed values of its time constant are very well balanced. They aren't however one hundred percent copy of the specifications of the original hardware. 

Acustica Audio offered us a slightly different approach, optimized for the more modern current production style. Despite this, because of its pedigree this type of compressor usually can not cope with every music genre, e. g. a very fast, technical metal riffing or rough, cut rap style voice... they are not "his" favorite workflow tasks,

however In other less extreme musical genres things is going perfectly...

ULTRAMARINE 3 following values:

1. 0.2 ms attack  - the fastest release

2. 0.2 ms attack - still fast release

3. 0.3 ms attack - slow release

4. 0.5 ms attack - the slowest release

5. 0.275 ms attack - less fast release program dependent (semi-automatic)

6. 0.2 ms attack - quicker release program dependent (semi-automatic)

Two last positions are dual capacitor release program dependent simulation.


For comparison, here's the time constant values values of the original unit:

1. 0.2 ms attack - 0.3 sec release

2. 0.2 ms attack - 0.8 sec release

3. 0.4 ms attack - 2 sec release

4. 0.8 ms attack - 5 sec release

5. 0.4 ms attack - 2 (peaks), 10 (multiple peaks) release

6. 0.2 ms attack - 0.3 (peaks), 10 (multiple peaks), 25 (program dependent)

As you can see, a common feature for both constructions in the context of all available positions switch time constant is quite fast attack (span from 0.2 ms to 0,8ms) with pretty slow and very musical release.

This cope really well with both transients and sibilants, changing all unpleasantly sharp tracks to warm and round works of art... Although, that for a very long time I'm interested in every kind of studio equipment I have to admit that after testing the ULTRAMARINE 3 I still just cannot believe that digital plugin compression can be so good!

If you have been wondering why the sound of your bass despite of the use of various plugins, good class D.I boxes, high-end instruments, and other hardware physical components (sic), still do not sound like on your favorite albums. Do not waste your time to continue reading this article and quickly reach for this compressor.

If you somehow still do not know how Sir Paul McCartney obtain "that", adored by millions, classic sound of his violin four string mate. The answer can be now found thanks to ULTRAMARINE3, because this type of original, hardware unit is one of the co-responsible for this (and many other) timeless bass sounds.  

With the rest, in 1964 the Vari-Mu compressors/limiters became one of the main studio weapons, not only for one but all of the Beatles, who with every next release every once widely explored its possibilities...

One of the key elements when recording the band's vocals and guitars, also inseparable even while working on sound of the drums of Ringo Starr (just listen carefully to his overheads).

Flea, another bass hero, who for years successfully use this type constructions...

Listen to the sound of his bass. It is not only warm and round, but wonderfully balanced, endowed with the unusual presence, with ULTRAMARINE 3 you be able to get an extremely close results, every time and any time in the recesses of your home studio.

What about the vocal?

The final produced album vocal tracks are often created by combining two different dynamics processors.

First the Quick 76' style unit (which, thanks to ROSE also has its very successful representation in the catalogue of Acustica Audio), followed by the second compressor which is responsible for all that additional color and character of the compressed voice. This second dynamics procesor is usually just a tube Vari-Mu compressor. Why? Because when it comes to processing voice this is simply the best choice.


The king is here and can be only one. No other device refines and evens voice like this one...

ULTRAMARINE 3 is also a great amount of our final mixbus, which often acts as an entrusting the passive tube  type equalizers. Surely you know the trick, according to which the main mixbus track passed simply through the circuits of this type of hardware, which thanks to its design makes everything just sound better.

If you do not try this with your passive tube eq's, try this with ULTRAMARINE 3. This uncomplicated operation just to sound immediately it became simply better! Snare drum with the main vocal track immediately come forward.

High hats falls into the right place and the bass followed by the kick held together in one common foundation.

With the bass parts happens here something truly magical (sometimes less, sometimes more desirable).

The bass becomes sharper, more focused and somehow changes its position in the panorama spectrum of the mix.  ULTRAMARINE 3 gives us everything of this. It's probably the only digital Vari - Mu style compressor on the market, which is doing it really well and convincing...

It is rare that the plugin causes shivers similar to those normally associated while working on a real analog hardware. This plugin calls them almost every time. Not only among those who were lucky enough to hear the sound of an actual real tube Vari-Mu compressor...

To deal with such a legend you have to not only have a real courage, but also a great ambition.

To make yourself a legend you have to believe in dreams entrenched unalloyed faith in their own strength. 

The team of Acustica Audio probably has all these qualities.

ULTRAMARINE 3 introduces a plugin compressors in not top of the league but straight to the Premier League. 

Oh execuse me. I mean Serie A.

Now we come to the compressor, which admittedly has hosted in the pages of this site, but because of its powerful capabilities, it could not miss "him" also today...

A compressor, which (although a few years ago it was unthinkable) each time use gives a huge and most importantly, almost analogue pleasure... 

This is the C compressor, a part of the recently released LIME BUS bundle.


As the whole of LIME pack I wrote earlier, I will try today for a kind of post scriptum...

For those who are not up to date, I hasten to remind that LIME consists of five ultra high quality dynamics processors. As you can see, to the needs of today's article I chose just one of them... not only in my opinion the best of whole set,

but probably also the crown jewel of all available today compressors from Acustica Audio catalogue...

Based on the structure of the legendary 54 limiter, which in LIME BUS bundle hiding under the mysterious codename "C".

The original hardware was manufactured in a very special time...

The Sixties in fact gone down in history as the time of flowering of psychedelic rock, era of flower children, experimentation, courage, war and love...

The decline of the decade was a time of supremely magical. Year 1969 was remembered through the prism of the last Beatles concert and the largest, now legendary music festival in the world (Woodstock). King is dead, long live the king. No, no slip of the tongue. The plural I used is not a mistake.The old turned gray. Beatlemania slowly coming to an end as they mined last common chords, giving its way to a completely new stars of music industry pioneered by Jimi Hendrix and Led Zeppelin. There, right in the place where the old met the new, Mr. Rupert Neve and David Rees (an engineer previously working for the BBC) worked on improving their first, (then) prototype embedded in wood construction with a sort of uninformative name, the 2253. Neither of the two probably not expecting that dozens of years later, the construction on which they worked wins immortality and becoming a platinum standard equipment of the best and largest recording studios in the world...


Thus the next legend was born...

The N54, which from the beginning was the creation of an exceptionally interesting and innovative, not only visually but more importantly also from the electronic point of view...


The first copies of this limiter was marked by the so-called rigid (fixed) threshlod, the level of which is determined by adjusting the input gain of the unit, so that along with the compression achieved is very pleasant, natural harmonic distortion - saturation (the level at which it affects the signal). 

The middle band of every track passed through this compressor immediately fall in love with this frequencies (note on around 100 - 150 Hz). It's this kind of device, which fed the appropriate dose of the input gain will always be surrendered to compress the signal. With this solution we obtain an open, natural compression, which is perfectly reproduces by LIME.

Over the years, 54 has become an integral part of large-format consoles, which largely wrote the music history.

It is not surprising that over time it has achieved a number of more modern and more mobile versions, among which deserves special attention its portable and operating outside the main console stereo rack version, which to this day is used in many such recording, radio and television studios of the world.


The classic 54 with time also lived through a few modifications (mainly related to modifications within the time of the attack), so that also today still does to be useful...

The sound of LIME C is an amazing reminiscent of its analog prototype.

It can be described as extremely warm and creamy. Thanks to its very musical saturation (obtained by legendary and sought after transformers), it adds a lot of width and body to all compressed tracks.

Indispensable if you want to thicken and strengthen the various subgroups of instruments.

LIME C, as well as the original hardware has two modes of operation to enable dynamic control signal being sent.

The device can operate in both the compressor and limiter mode.


While the classic N54 has set rigidly only one value of attack (5 ms) Acustica Audio enables us to select a larger number of available attack values.


The threshold of LIME C is selected classically (true to analog), as is the release values (in the original unit is called "Recovery"). Possible ratio settings are in line with this offers by the hardware.

So we have the following values: 1:5, 2:1, 3:1, 4:1, 6:1.

The release in LIME also has been optimized to meet the needs of today's modern user.

Instead of three vales available in analog (400 ms, 800 ms, 1500 ms) we get six opportunities 01, 02, 04, 08, 1, 5, 3 (no auto release available). Limiter mode in LIME is achieved by setting the ratio knob in position named MAX.

This mode has very musical and vintage character. Great for finalizing almost every music project (additional values of both the attack and release can provide a clue as to the production process of this compressor...

It is possible that engineers at Acustica Audio tried to get closer to any of later editions of 54. 

It seems to me that it could be the 54/E. But this is not official confirmed,  

(that's why I leave it on the side of Guess )

Despite its quite simple design LIME C is contrary to appearances a very versatile and useful compressor. 

It can be successfully used not only on master bus or sub groups, but also on individual instrumental tracks.

"C" sounds great on vocals (especially on naturally thin and bright voices), keys, guitars and basses,

as well as any acoustic instruments.


LIME C is a class of its own. Absolutely miraculous compressor.  Probably one of the best among all available on the market today. It should be seen not as an emulation, but as an independent fully self contained product.  

New technology called "ULTRAMATCH" made the boundary between the plugin and the hardware almost completely obliterated...


Unbelievable? Maybe, but now... how true!



And now a quick step forward...

A step straight to compressors which, though decidedly different are perfectly fit into the concept of today's review... 

Here is PINK, through which we get directly into the "Pink Seventies" (aptly named), from under which emits a mysterious blue glow...


"If you dare to, just close your eyes and imagine a plugin that sounds so good and behaves so much like analog that you are in disbelief. The Pink compressor started people on this crazy dream, so Acustica Audio has decided to expand this into the most flexible and juiciest multi-band compressor emulation to ever seen in software market".  In this way it is presented to us the PINK bundle, through which we get to know a completely new face of well-known and respected modern American compressors...  

Yes, the mysterious presence of the blue color is explained. Under the covering of pink powder we get a true American legend. The legend, created by recently deceased Saul Walker, whose brand for over forty years has consistently and invariably appeared as the brightest face of real American sound...

The plan of Mr. Walker (at least in theory) was simple, clear and precise...

Select the best possible components and using them to build a first-class, best-sounding studio equipment of the world and... It's not all... Then render it in the hands of customers with the best warranty system, which It has been proposed in the history of the whole audio industry...

Task ambitious? For sure. 

American Dream? Certainly and you know what? Not only successful but is still going on today!

The brand remains faithful to the principles established at the very beginning of the company.

All their engineers still use the original technical solutions. They continue to highly personalized and extremely valued customer care. With unwavering faith in their own abilities. Thanks to the allegiance. Thanks to the bold and courageous solutions, they manage to keep things fresh, remaining at the forefront of the pantheon of one of the best hardware for music production, which not only stood the test of time but over the years also managed to considerably strengthen its position gaining almost cult status.

This was possible not only by the hard work of the company but also due to their legendary own original custom Op Amp, which generate very characteristic on the one hand a strong and determined and on the other juicy and saturated sound, which has a very nice enhanced mid-band frequencies.


Now, the faithfull reproduction of  this legendary sound is also available through the PINK COMPRESSORS BUNDLE.

Acustica Audio promise us achieving the impossible until now dream of a true analog wording enclosed in a modern digital envelope, which never gets old, does not spoil, instead, each time will be just as reliable...


The PINK Bundle consists of two compressors named 2412 and the 7236.

Although, the two compressors still fit in a vintage classic technological thought, both are much more versatile, faster and stronger than the others classics described earlier.


Pink is the sound of rock. Hard, saturated and full of punch.


2412 is not as fat as the C compressor of LIME BUS package. It is also not a classic VCA type bus dynamics processor, in which any occurring in the compression is connected rigidly to the main fader of the master console.

The classic British VCA compressor is really hard and there is so much heat. Its punch is also different, sharper and uncompromising. 2412 is different, somewhat broader, more saturated and also more versatile...

Although, the 2412 is rather a channel compressor, it works very well also on the sub groups and master bus of our mix. Very good in the battle with transient. Perfectly pumps, sets in motion and animates each signal passed through it. The uniqueness of this compressor lies in the wide possibilities of settings.

First of all, 2412 gives us two different types of sound and behavior...

FEEDBACK style which give us a classic, slightly more vintage, even milder overall compression and a modern FEED FORWARD style with more powerful and precise current day approach. 

This is not the end...

2412 has a number of unique capabilities for control the signal. Possibilities, that what is worth emphasizing you will not find anywhere else. We have here for example a tri-range knee, which in colloquial translation refers to the way in which the compressor reacts to the signal. Setting the knee indirectly affects not only behavior but also the width of the compressor operation.

SOFT knee value gives us a lighter, warmer and more natural sound. Compressor here affects gently to the whole introduced signal.

MED knee value is more focused, sharper and slightly more pushed to the front of the sound.

HARD knee presents an aggressive, similar to the character of classic limiter.

As you can see, knee also affects the nature of the sound of the compressor.


This is also not the end...


PINK (according to what is found in the hardware unit) has a very useful and highly developed section responsible for filtering the signal (which in the original constructions is hidden under the name "detect thrust") by which compressor indicate the scope of its activities. This is a fairly advanced type of internal sidechain so that opens up completely new opportunities. Which? Assume for a moment that 2412 is used as a classic bus compressor.

In this case we can easily make that our compressor will focus only on the upper frequencies of our mix to allow for extremely efficient treatment of any transient, sibilants or sharp edges of the mixed tracks.

Do you know some other bus compressor that is capable of?

By using the tone we can set the curve of the built in sidechain equalizer.  

HARD pumping our signal more from the upper band.

NORM setting is flat and therefore affects the whole signal.

MED depending on the signal level responds most strongly exhibited frequency of the track.

No matter whether our intention is to control the dynamics of just the kick and bass, subjugation instruments clustered in the middle of the band or will the delicate recovery and alignment of the whole mix.

With 2412 everything becomes possible...

Time to take care of the last compressor.


The other (bigger) half of the PINK Bundle codenamed 7236.


After the start we succumb to the initial confusion...


Yes, the interface of the compressor intimidating, even though it looks scary it was created in order to facilitate the daily struggles of the dynamics that pass through it traces. It is true, that you can find here all the parameters typical for each dynamics processor such as: attack, release, threshold, or ratio but here everything is more...

7236 is designed to significantly extend the generic spectrum of a typical compressor, so that it is effective wherever the classic compressor turns out to be unreliable.

For 7236 we are dealing with an extremely advanced design, which allow us to independent adjustment of not one,

but several different frequencies. So that the compressor is also ideal when some advanced mastering work are in progress...

Each of the three available frequency bands can be treated as an independent compressor. The number of special features can be combined so that a complementary and extremely precise influenced both for each frequency and at all of our project. "He" interacted strongly, effectively and most importantly in at the same time! With this solution, the compressor will prove particularly well in all this kind of situations where it is necessary to dig in on specified problematic frequency or within a particular area of the instrument in which is located the problem...

Through the CONTROL LINK button you can link together all three frequency ranges, so you get a powerful, classic acting compressor, ideal for the sum of the mix...

Since 7236 has been created on the basis of 2412, its interface allows us to have all the settings available in 2412.

A new feature differentiating this compressor from the usual 2412 is that all parameters are available for the different frequency ranges!

Two different modes of compression, selectable frequency response, the knee...

All this we get here three times!  

This very powerful multiband compressor gives us a broad spectrum of possible settings, so that we subjugate the dynamics of any previously recorded track. Shaping it exactly the way we want...

Each among the available bands can be individually bypassed.

When we add to all of this a very unique and powerful sidechain (allowing us, for example, precisely specified frequency at which the compressor will react). We will receive highly specialized plugin, which firmly stands out from the competition.

7236 is equipped with up to three types of specially designed filters called CROSS-OVER.

They support a fairly sizable range of frequencies (from 100 Hz to 600 Hz and from 1.5 kHz up to 12 kHz). 

The first one is very clean and very precise digital style filter, which no colors the signal and does not cause changes in the phase spectrum of the track. The second type represents already a much more analog flavor.

This filter is less precise, but very juicy and tasty. The third and last type of filter is named JOLLY and we know about it so that it is taken directly from the physical analog unit, which was built especially for this plugin!

Admittedly, an unusual approach worth not only noteworthy but also the appreciation...


Of course, also in this case we get the opportunity to benefit from a globally acting, very pleasant-sounding preamp, with whom compression becomes complete and full of extra mojo...

Acustica Audio went further and offered us another very useful parameter - much speaking called NYC. 

This parameter allows us to so-called parallel compression. Now available independently for each band!

This option is unusual, rare and unprecedented, thanks to which the capabilities of this compressor are almost endless...

The common feature of almost all compressors from the Acustica Audio catalogue is a mysterious parameter called INSANE. With this settings We can raise the precision of compression by increasing their rate program (of course at the expense of the higher use of computer resources).

Another novelty is the parameter named SHMOD, which in practice allows you to fine-tune the shape and behavior of the compressor attack. So we can tune our attack, for each source. This is a complete novelty invented and developed by Acustica Audio (this solution is possible only in AA plugins).

The PINK Bundle is undoubtedly one of the most versatile compressors available. Multi-tasking and perfectly combining tradition with modernity...








































So here is the compression in terms of the realm of Acustica Audio.

I think that each of the four compressors presented here is an amazing and unique piece of work.

Each copes in a different range of activities and most importantly doing exactly what it should...

Evaluating such products is not an easy task, especially when trying to find something that could be constructively attach. This is the place where I have a problem, because each of this compressors I really liked.

Whether we use the ULTRAMARINE 3, LIME, TAN, or the both compressors of the PINK bundle, each achieve the desired result. We finally achieve the end of our mix and we will finally be happy with it.

These compressors behave like compressors should and this is their superior value!

Acustica Audio shun unproductive copying, trying each time to create a product for a large P.

Unique, original and fresh. Not one hundred percent clones of common hardware, but truly independent products, which (depending on the intentions of the Acustica Audio itself) more or less refer to the circuits of the analog original stuff. The Italians play with form. Their work is not only ambitious, but also wisely.

AA do not desecrate the original, instead give us their own a surprisingly close to the original versions of a classic analog hardware, served with a twist, which in addition often difficult to describe the way enhances even the farthest known nuances of sound from the original. This kind of approach I am very comfortable with.

Not only does paves the way for the exploration of the digital world in search of interesting, yet non-existent hybrid, but is also extremely strong core, which could be used for launching her own line of original hardware equipment, which I would buy immediately, even in the dark...


In summary. These compressors are so good that you simply have problems with their objective judgment, otherwise, just ... you can not...


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