Fabfilter one pro c4/25/2023 ![]() The Dry Mix is independent of the main gain control, so adding the dry mix back in makes the output louder, so it's hard to meaningfully A/B the sound with and without a dry contribution. The release characteristics of all three are programme‑dependent to a certain extent, and the Release time control can be switched to a fully programme‑dependent mode where it simply runs between Fast and Slow rather than offering measured times.Īs well as an output gain control, there's also a Dry Mix dial that allows you to reintroduce some of the dry signal, for parallel compression, and one of my few criticisms of Fabfilter's interface centres on these two gain controls. For a start, three different styles of compression are available: Clean is comparatively transparent, while Classic is more aggressive, and Opto is warmer. On first loading up the Pro‑C compressor, you could be forgiven for thinking "Well, it looks nice, but basically it's just a bog‑standard compressor, isn't it?” It takes a few minutes' exploration to realise that it is no such thing. All the common plug‑in standards are supported, and the VST version installs separate VST2.4 and VST3 versions, the latter offering some additional features such as external side‑chain support, if your host can accommodate them. This consists of a string of gibberish that is emailed to you once you enter your licence key, and is pasted into the activation window the first time you run one of the plug‑ins. Many developers try to give their plug‑ins an air of class by making them look like pieces of vintage hardware these, by contrast, are plug‑ins that embody the principles of good software design, and they are all the better for it.Īll three are available as separate plug‑ins, and have to be downloaded separately even if you buy the full Mastering Pack, but a single authorisation covers the entire bundle. ![]() ![]() There are genuinely helpful tooltips associated with all the controls, a well thought‑out and clear interactive help guide, and each plug‑in maintains an Undo history that allows you to retrace your steps when you go wrong. The Pro‑C compressor and Pro‑L limiter, for instance, feature not only conventional gain‑reduction, input and output meters, but a scrolling histogram that allows you to visualise these parameters over time. All of them look great, and do a good job of displaying the information you need to see in a meaningful yet compact fashion. This is most immediately apparent in the beautifully slick interface, many features of which are shared across all three plug‑ins. Dig beneath the surface, however, and it becomes clear that much thought has gone into the design of Pro‑C, Pro‑Q and Pro‑L. And at first glance, Fabfilter's take on this triumvurate looks pretty traditional, consisting, as it does, of a stereo compressor, a parametric EQ and a single‑band, brick‑wall limiter. With so many mastering processors already on the market, is there room for another compressor, EQ and limiter? Fabfilter certainly think so.Īlthough there have been some innovations in recent years, mix bus and master processing still has the Holy Trinity of compression, equalisation and peak limiting at its core.
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