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Old 20th November 2009
  #137
Quote:
Originally Posted by emrr View Post
The bread and butter of the FCS is the dbx type RMS detection. It can really thicken up a sound, increase presence and sustain, without negatively affecting the peak transients. It leaves a good bit of crest factor. It sounds more like turning up the low level details to match the peaks, rather than smacking down the peaks. RMS mode can really increase the presence and thwack of drum tracks, while leaving them open and lively at the same time. The NL setting is in the RMS realm, but increases attack time on transients, while staying slower on steady state material. It 'sound's like adaptive ratio, and can give smack on drum transients in a mix without pumping or negatively affecting anything else. I seldom use the peak mode by itself, but see uses for the combo of peak and RMS together. Then there's addition of attack/release controls, and feedback versus feedforward modes, which change the timing constants of each mode in unique ways. I suppose what I'm getting at is there are lots of combos of detection here, and I've always been able to find a combo that suits the job at hand. My Distressors and various tube vari-mu limiters have been lonely because of these!


The Foote VCA design is impressive. Roger is a genius.