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1. #SURVEILLANCE CLIENT DMG PLUGIN HOW TO#
2. #SURVEILLANCE CLIENT DMG PLUGIN FULL#
3. #SURVEILLANCE CLIENT DMG PLUGIN MAC#
4. #SURVEILLANCE CLIENT DMG PLUGIN WINDOWS#

#SURVEILLANCE CLIENT DMG PLUGIN MAC#

Mac VST, VST3, AU and AAX as 32+64bit, RTAS 32bit.

#SURVEILLANCE CLIENT DMG PLUGIN WINDOWS#

#SURVEILLANCE CLIENT DMG PLUGIN FULL#

Full integrated EBU R-128 Loudness metering.Noise-shaped dither with adjustable noise shaping intensity.64x oversampled pre-limiter clipper with multiple clip algorithms.Simple and advanced modes: simple is click and bounce advanced allows fine-grained control.Bit-transparent linear phase crossover.Dual-stage dynamic handling separates transients and dynamics.Iterative solver algorithm provides the gentlest, most transparent limiting.Cutting edge peak limiter to complete your mastering chain.Credits include: Avril Lavigne, Jason Derulo, Christina Aguilera, Christina Perri, Pentatonix, Elle King, Daughtry, Gavin DeGraw (Of course, unlike some dedicated emulations of specific pieces of analogue hardware, it won't reproduce the additional non‑linearities associated with transformers or valve output stages.) If you're simply after transparent dynamic control, Compassion will do that with aplomb if you want something more characterful, all the tools are there, though figuring out how best to use them for yourself takes time. On instrumental tracks and vocals, I was particularly impressed by the lack of unpleasant side‑effects, even with very fast attack and release times. Even without tweaking, it delivered a creditable performance across the mix bus, imparting a smooth and slightly dark tone to a rock track - and I'm sure that, with tweaking, it could be made to respond in a hundred other ways. Its flexibility is illustrated by the supplied mods, which turn it into everything from a FET design to an optical compressor to a vari‑mu valve circuit, and much more besides. The many extra controls for detailed configuration are accessed in an optional panel below the main window, where they are organised into a number of panes.Ĭompassion also features a well‑specified transient shaper and peak limiter.Attempting to describe the sound of Compassion is a bit like nailing the proverbial jelly to the wall, because it's designed to have any sound you want it to have. Fortunately, it's joined by a very configurable and much more conventional bar‑graph meter, and you can switch it off if you want.

#SURVEILLANCE CLIENT DMG PLUGIN HOW TO#

It takes a while to learn how to get the best from such a display, and personally, I found I needed to choose a slower 'logging speed' in order to comprehend what was going on. The threshold level is shown by a white line, and you can choose to view the input or side‑chain waveform superimposed on the output waveform if you wish. This, again, is slightly reminiscent of the scrolling display in FabFilter's Pro‑C compressor: the input waveform scrolls from right to left, while above and below it the amount of gain reduction is illustrated by the thickness of a coloured band that is alternately green or red, depending on whether the compressor is in its attack or release phase. The basic Compassion screen simply shows the most important, conventional compression controls, along with a very distinctive graphical display. If that massive array of subtleties all sounds a bit intimidating - and it certainly did to me - it's a relief to learn, on first loading up the plug‑in, that you don't have to concern yourself with any of it if you don't want to. This can be a useful feature where, for example, you want to compress signal peaks while reducing low‑level noise, but leave the central part of the dynamic range alone. If there's one thing that's missing, it's the ability to set a different threshold level for the expander from that used by the main compressor. This is something I've only seen before on a few compressors, perhaps most famously the Eventide Omnipressor, and although you wouldn't want to use it every day, it can make for some interesting special effects on percussive sources. The main Ratio control, meanwhile, runs from 1:1 at the leftmost extreme, through infinity:1 (hard limiting) at about two o'clock and then into negative compression, where the gain range of the signal is inverted. It can, in fact, simultaneously perform conventional expansion or gating, upward expansion (which increases the dynamic range of signals above the threshold) and upward compression (which squashes and makes louder the audio below the threshold, while leaving peaks untouched). Here, Compassion is serving as a dynamic EQ on a drum bus, side‑chained from the vocal track.By now, I doubt that anyone will be surprised to learn that Compassion can be used as a gate or expander, but, once again, its versatility is impressive.