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bengomori 17th March 2011 08:55 PM

Abbey Road RS124 compressor plug-in
Anyone using this? Having such annoying continual issues with the Hold position not working and getting big knocks when it kicks in, and for example, big swells in volume of the drum track whenever the kick drops out in my track.

the workaround I have basically uses gain riding, which is really annoying! It's such a lovely plugin - anyone else having any problems? REally don't want to stop using it as it's some quality stuff!

recall 17th March 2011 09:02 PM

lots of threads on here from "the new product forum". Use the search function, these exact issues are debated in depth. It's a pain to use the compressor but it does great things and is worth the hassle.

bengomori 17th March 2011 09:17 PM

thanks mate, sorry am new here as you can tell...glad to hear it;s not just me!

bengomori 17th March 2011 09:29 PM

sifting through the 15 pages...

I should say that I am generally using it in parallel compression so it's slammed to max on input control - but I remember when i've used it much more conservatively on individual tracks with the input control set much lower, I was still experiencing this problem. Grief!

bengomori 17th March 2011 09:42 PM

Got the jist though - it's the priming that I didn't get. And you know what? I had support from a staff member at Abbey Road HQ, one of their actual engineers (as I was reviewing the product) and after all my explanation he NEVER mentioned this had to be done!!!

Tommy - they should be paying you a stipend ;) cheers man

Originally Posted by Tommy D
That's exactly what I'm doing with higher input (ie, gain reduction) settings. Easy to do (in Logic anyway) and works great. Only thing is it has to be "primed" first, meaning you have to run some audio on the track through it to get the comp "working" before you apply the hold function. In other words, "it needs something to hold". For a repeatable mix behavior, you could cut a piece of audio and paste it before the song start to use as your "primer", then automate the hold to turn on. Once the audio on the track kicks in, you can automate the hold to turn off. Seems like a lot of hoop jumping I know but once you've done it a few times it becomes easy. And worth the results you get. Once you get your head around what the hold function is actually doing it makes more sense. It is merely "holding" the comp's release so it will catch the first transient on the track, instead of letting it sneak through unnaturally before the comp clamps down. In most moderate gain reduction scenarios this procedure isn't always necessary. Nor is it always necessary with fast release or Superfuse settings, at least in my experience so far.

BTW, in Logic the hold function can be manipulated in the "Recovery" parameter in the automation list of available parameters....