I’m sure someone will tell me I’m being too conservative and they use all buttons in 100% wet on classical piano but that person would be something of an outlier! But there is so much more to the crush bus than an 1176, great though it is. This all buttons in setting is so popular because it is so extreme, too extreme to be used in any way other than in parallel compression. You can emulate this ‘all buttons in’ behaviour in every 1176 style plugin I’ve ever seen and if you are using the UAD 1176 limiter collection you can experiment with any combination of buttons, not just one or all. If you pressed in more than one button on a hardware 1176 you got a more dramatic, unpredictable sound and if you pressed all the buttons in things went wild! ‘Radio button’ probably needs some explanation as many readers will be too young to remember the car radio selection buttons from which this style of button got its name but the principle is that you can select only one of the available options – if you click a button, the previously selected button gets cancelled. If somehow you’ve managed to avoid an explanation of the ‘all buttons in’ trick on the 1176, suffice to say that it’s a way users of the hardware managed to misuse the radio buttons which controlled the ratio selection. It’s a very popular technique and one for which the first call compressor is the venerable and ubiquitous 1176. The idea of a crush bus is to generate excitement, density and movement by setting up the most extreme compression but running it in parallel with uncompressed, or at least sensibly processed, dry audio so that the peaks can pass through intact but the movement, the breathing and, for want of a better word ‘fun’ of really destroyed drums can be tucked in underneath without the drums, or anything else you care to route through this crush bus, actually getting bent too far out of shape. While the threshold and ratio might be the most important controls on a compressor (after the bypass button of course!), it is the attack and release controls which are the most interesting. Transient heavy material is the perfect place to showcase the effect of attack and release times. It’s no coincidence that demonstrations of compressors almost invariably revolve around drums. But there is always the infamous “Crush Bus”. The thing is, if we’re doing our jobs properly there aren’t all that many opportunities to go all in with the compressor. In this article Julian looks at the ever-popular practice of ‘crush’ compression and asks if you are a fan of the 1176, whether there are other options you might consider?Įxcessive compression! However tasteful we like to think we are, if you’re anything like me I’m sure you like to get silly with compression, to really mangle stuff.
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