- Diy 500 series compressor full#
- Diy 500 series compressor pro#
- Diy 500 series compressor software#
- Diy 500 series compressor plus#
This was corrected in Pro Tools version 10, which appeared around 2012.
Diy 500 series compressor full#
Meaning, if you were working on a 6-minute song and needed to make an MP3 version to send to your client, you had to sit and wait the full 6-minute length of the song for Pro Tools to bounce the file. Pro Tools users screamed for a good 15+ years about how Pro Tools’ 1990s-era audio engine did not allow “faster than real time” rendering. I think the one thing about using “hardware plugins” that may limit how much I want to use them is the way they affect our workflow on longer stretches of material. Side view of the Dione, showing the additional pins added to the connector to support remote control via a compatible 500 series rack. But that’s a bridge I will likely be waiting a while to cross, if ever.
I am intrigued by the possibilities offered by having a whole set of recallable compressors in the rack, especially because the remote control functionality would allow us to leave them out in the hall closet rather than in the limited rack space we have in the control room. WesAudio also currently offers the Mimas, a 500-series version of the 1176 compressor, that supports this communication standard. In a 500 series rack that supports this addition (such as Wes Audio’s own Titan rack chassis), a single USB connection on the back of the rack mount can provide USB connectivity to any modules such as the Dione that support this communication standard. This extension adds a small extra set of connector pins to the back of the module’s interface card. There is a mini USB plug on the front face of the module, but WesAudio has also developed a hardware “extension” to the 500 series standard they are aggressively pushing the 500 series community to adapt. The module receives its marching orders from the computer by way of a USB connection. So when you go back and forth between the two sessions, the hardware unit’s settings are changed automatically. If you’ve dialed up settings in one Pro Tools session, then opened another and made different adjustments, the settings stay with the session. The module sports a true, relay-controlled hardware bypass, so selecting “bypass” in Pro Tools yields a satisfying electromechanical “click” from within the bowels of the module. Turn a knob on the physical unit, and it’s immediately reflected in software. You can turn knobs, push buttons, even bypass the plugin - and the 500 series module responds as if you’d pushed a physical button on the unit.
Diy 500 series compressor software#
In that respect, the Dione and its related AAX control really does feel like a “hardware plugin.” When the AAX control is instantiated and open on an aux track in Pro Tools, it looks just like any other software plugin you might happen to use in your session.
Diy 500 series compressor plus#
Since we tend to have a lot of projects flying around at the same time, the ability to store outboard settings within the session, and recall them at will, is a huge plus for our workflow. I’m going to need to find a tidier way to connect to this unit I’ll probably try to feed the cable between the racks and leave a USB hub under the countertop somewhere. Note the USB connection, through which the unit communicates with its software controller. SSL is still a going concern, and in addition to including it in their modern-day consoles, they now offer the G-series bus compressor as a standalone unit. But its unique capabilities meant that studio folk still wanted the sound of that unit even if they were no longer working on a board of that size and pedigree. So this bus compressor was incredibly versatile, both as a tool while tracking instruments, and a “final glue” in completing a mix.Īs with most other pieces of legendary studio gear, the SSL G-series compressor went out of production when the G-series was discontinued. But SSL also cleverly allowed you to “patch into” the mix bus compressor from elsewhere on the board, meaning you could use the master bus compressor while tracking instruments typically recorded in stereo, such as piano and drums. Plus, the console’s master section (the last link in the chain) also included a master bus compressor to provide a little extra control of the audio program as it was leaving the console. Solid State Logic’s SL 4000 console was the first console that included compressors on every channel on the board. The bus compressor is halfway up the left side of the center section.
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