![]() VCA audio compressors are fast and generally quite sensitive. Of course, there can be a tendency to go overboard with this. ![]() This can draw them in line with an acceptable dynamic range for your mix. Due to its fast-acting nature, VCA compression will help to act on those hits almost instantly. Here and there, you are likely to have some hits that stick out. To use it in a practical scenario, let’s say you’ve got a snare top recording where the drummer gets a little happy during transitions. For this reason, it’s fantastic at taming transient content. Voltage controller amplitude compression acts on PEAK signal input and offers a fast attack and release. Practically every VCA style plugin that you’ll come across today will be modeled, in some way, on this device. Perhaps the most famous VCA compressor of all time is the DBX160. Let me break each of them down for you so you can see what key aspects make them each so unique. By learning to differentiate these circuit types, you will gain far more control over your mixes. Most audio compressors operate using either VCA (Voltage Controlled Amplitude), FET (Field-effect Transistor), OPTO (Optical), or VARI-MU (Variable-MU). So you may now be asking yourself what these circuit types are. We’re going to delve into the depths of circuitry and find out what makes a compressor right for the job. However, when it comes to the more subtle differences between audio compressors, a lot of you might feel a little lost. Most people have an understanding of the basic principles of compression. Second only to audio mastering of course. When it comes to the audio engineering world, it seems compression takes a close second on a list of difficult things to comprehend. People often ask “Should I get X or Y plugin?” without realizing that they just compared two completely different audio compressors. One of the most common topics that I get asked about is compression.
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