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Author Topic: URS Classic Compressors (2006)  (Read 338 times)

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Offline chrisNova777

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URS Classic Compressors (2006)
« on: August 04, 2019, 12:32:39 AM »
URS Classic Compressors

URS Classic Compressors
Unique Recording Software have made something of a name for themselves with high-quality plug-ins that model various sought-after pieces of vintage gear. Since we last covered their products, they've broadened their appeal by offering VST and Audio Units versions, allowing non-Pro Tools users to get in on the action, but they continue to develop for the TDM platform as well. As usual, the TDM licence covers all other platforms too, but URS don't have a single installer for all versions, so if you want the VST as well, you'll have to download and install it separately. Authorisation is to an iLok key.

plugin URS 1970CLS
plugin URS 1980CLS.
The Classic Compressors bundle consists of two plug-ins called 1970 Compressor and 1980 Compressor, which are also available separately. The hardware units that inspired them aren't named, and the graphics adopt a generic vintage look rather than aping a real front panel, but it seems fairly clear that these are based on classic Neve and SSL buss-compressor designs respectively. Each of them actually comes in two versions: the CLS version includes an additional, non-vintage brick-wall limiter and side-chain filtering, while the 'C' version just has the compressor, but takes less processing power to run as a result. External side-chain input is available, but in the TDM version only, which is a shame.

Both 1970 and 1980 have the same controls, laid out in the same way, and the ranges of the controls appear to be identical. For example, compressor Attack is variable between 0.1ms and 100ms in both cases, while Release runs from 10ms to two seconds. The two plug-ins even come with the same selection of presets. Not being lucky enough to own a vintage Neve or SSL desk, I can't say for certain that these plug-ins are indistinguishable from the real thing, but their respective characters call to mind the right sort of adjectives. That is, 1970 Compressor tends towards the warm and rounded, with a ballsy quality that should suit some styles of rock particularly well, while the 1980 model has a snappier feel and a brighter, more aggressive sound. That said, the difference between the two wasn't quite as great as I expected, and in real-world applications I didn't often notice a radical change when I swapped one out for the other. Thanks to the wide range of the controls and the addition of the limiter, though, both are much more flexible than typical vintage emulations, and these plug-ins are eminently usable on individual instruments, subgroups or entire mixes. Sam Inglis