On Tue, May 18, 2010 at 11:01 AM, mark hadman <span dir="ltr"><<a href="mailto:markhadman@googlemail.com">markhadman@googlemail.com</a>></span> wrote:<br><div class="gmail_quote"><blockquote class="gmail_quote" style="margin: 0pt 0pt 0pt 0.8ex; border-left: 1px solid rgb(204, 204, 204); padding-left: 1ex;">
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That aside, there's a much easier way to preserve transients - just<br>
slow down the compressor's attack time....<br>
<div><div></div><div class="h5"><br></div></div></blockquote><div><br>This is still quite different than parallel compression. One can have fast attack times with high ratios yet still have the transient response of the dry sound. Parallel compression is a fundamental audio engineering 'trick' responsible for massive drums sounds (Bonham 'When the Levee Breaks', the snare sound on Bowie's 'Let's Dance', etc).<br>
<br>Unfortunately, DSP compression is absolutely horrid compared to analog boxes like an API 2500 or ADR Compex - let alone the old tube gear like a 176. <br></div></div>