Implemented "Uglier" compressor algorithms

I had tried this on the level setting in the compressor block itself, but it's not completely effective because the controllers are tied to the signals at the input block, not the input signal to the compressor block. If you dialed it with a clean guitar, for example, it'd behave quite differently if you put a drive pedal in front of the compressor block and turned it on (something I like to do).
That's why I thought perhaps using a volume block with a modifier after the compressor might get you the gritty swell on the decay.

This way you can keep the compressor settings you like, but dial in the swell more surgically with a volume block after it.
 
Meanwhile, a couple of thoughts:

- The transient at the start is pretty strong. That suggests that the attack is slower than what you've got set.

- True, your settings are pretty extreme. But Compression is only 3/4 of the way up. If you need more... ;)

- Maybe a second compressor would help.
 
Maybe the compressor block is just not able to do that? I always feel it needs pretty extreme settings to get that really squashy type of compressor sound.
 
The squash is okay.
I think this is about the strength of the signal during the release period: make-up gain which only applies to to the release, not to the initial attack.
 
This sounds and feels exactly like Ross when you're playing. Just doesn't do the makeup gain thing on fade out.
It is always difficult to explain a sound in plain words... yes, makeup gain... that is why I suggested a few post ago to add a clipping stage. It seems like the circuit can't keep up with the recovery and "bounce" "clip" "saturate"... I don't know which terms you prefer! The analog device with its limits created a unique desiderable sound and feel... like tube amp. I hope Cliff take a good look and keep another step further into autenticity in this block. Maybe it's "imperfection" in the detection circuit that modulate the signal, like wow and flutter in tape delay. The hell I know, I trust in Cliff!
 
The squash is okay.
I think this is about the strength of the signal during the release period: make-up gain which only applies to to the release, not to the initial attack.
I love, love, love when the signal is "alive". When you strum a chord and the harmonic change as the signal fade, when a fuzz is spitting and farting in almost unpredictable way. I wish the comp has some "imperfections" added... a bit of complexity like a real analog one. A bit of musical "modulation" in the release... different than tremolo... just a bit to make fx "alive"...
 
Yup.

View attachment 90200

This sounds and feels exactly like Ross when you're playing. Just doesn't do the makeup gain thing on fade out.



I can try that but I'm a touch skeptical it'll do the makeup gain thing the Ross does.
You're using the term "makeup gain" incorrectly. Makeup gain is simply a static gain after the compressor to compensate for the reduction in level. If you need more gain as the note fades out then simply increase the compression.
 
You're using the term "makeup gain" incorrectly. Makeup gain is simply a static gain after the compressor to compensate for the reduction in level. If you need more gain as the note fades out then simply increase the compression.
Yup. Rex corrected me on that.

It's the envelope response on decay that's different with the Ross. Check the clips in this post: https://forum.fractalaudio.com/threads/uglier-compressor-algorithms.177609/page-2#post-2163731

I appreciate your insights on how to get this closer. Sometimes chasing the dragon is part of the fun.
 
Yup. Rex corrected me on that.

It's the envelope response on decay that's different with the Ross. Check the clips in this post: https://forum.fractalaudio.com/threads/uglier-compressor-algorithms.177609/page-2#post-2163731

I appreciate your insights on how to get this closer. Sometimes chasing the dragon is part of the fun.
I looked into this a bit. The Ross compressor is capable of insane amounts of compression. Nearly 1000:1. With the sustain knob at noon the compression is nearly 100:1. The feedback compressors in the Axe-Fx have a maximum compression of 100:1. Note that this isn't compression ratio in the classic sense, it's the ratio of maximum gain to minimum gain. If you dime the sustain knob on the Ross the gain when not playing will be around 1000. The minimum gain is around 1. So it really acts more like a limiter with a long release time (at typical settings).

So I've increased the maximum amount of compression for the next release to 1000.
 
I looked into this a bit. The Ross compressor is capable of insane amounts of compression. Nearly 1000:1. With the sustain knob at noon the compression is nearly 100:1. The feedback compressors in the Axe-Fx have a maximum compression of 100:1. Note that this isn't compression ratio in the classic sense, it's the ratio of maximum gain to minimum gain. If you dime the sustain knob on the Ross the gain when not playing will be around 1000. The minimum gain is around 1. So it really acts more like a limiter with a long release time (at typical settings).

So I've increased the maximum amount of compression for the next release to 1000.
You, sir: are the man.

Thank you.
 
I looked into this a bit. The Ross compressor is capable of insane amounts of compression. Nearly 1000:1. With the sustain knob at noon the compression is nearly 100:1. The feedback compressors in the Axe-Fx have a maximum compression of 100:1. Note that this isn't compression ratio in the classic sense, it's the ratio of maximum gain to minimum gain. If you dime the sustain knob on the Ross the gain when not playing will be around 1000. The minimum gain is around 1. So it really acts more like a limiter with a long release time (at typical settings).

So I've increased the maximum amount of compression for the next release to 1000.
Sussed, and nailed to the wall. Bravo!
 
17.01 RC is spot on. In fact, the high compression and high release times can do incredibly long sustain now. It's really nutty. Thank you!

Still matching the release time. But it'll be matchable to a tee now:

View attachment 90363
According to my calculations the release time would be around 150ms.

It's actually 1.5 seconds but in the "Pedal" compressors the release time is multiplied by 10.
 
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