This came at the expense of some overall definition, but the sound it produced was very nice and usable. The UAD 4k Buss Compressor had a slightly more coloured sound, and it added some low end which was welcome. The oversampled plug-in had a slightly more open sound, most audible on the shaker and the timbales. Both versions of The Glue sharpened up the transients, which worked very well for Latin percussion. With this test I wanted to hear how well The Glue could handle different types of transients - and what could be better than some stray Latin percussion. Maximum gain reduction: about 6.5dB RMS.Release: 0.2s (on The Glue) 0.3s (on the others).Last but not least, the GSSL compressor sounded too colored and lost both low end and stereo definition. The vivid definition of the choirs set it apart from the other sound clips. Because of its three-dimensional depth and stereo width, the TK Audio BC1 came out sounding 'like a record', which was no surprise to me. The Waves compressor sounded great in the verse, but lost a little bit of low-end definition in the chorus, where it also added a tiny bit of graininess. The UAD 4k Buss Compressor added some low end, which pushed the mix forward in a nice way. Both versions of The Glue packaged the mix in a very nice way, and the only differences were a slightly more defined and firmer low end, wider stereo width and fractionally more open sound in the chorus with the oversampled plug-in. Mix (auto-release)ДЄuto-release is also very useful to glue a mix together, and for this test, I wanted to hear how well the compressors took on bus compression.

The GSSL made the transients a bit more gritty, but in a good way вЂ“ at the expense of slightly less defined stereo width and low end. The BC1 made the guitar a bit smoother without losing any definition or stereo width, sounding perhaps a bit more compressed compared to the others. The Waves plug-in, however, sounded flat in comparison, and lacked some stereo definition. The UA plug-in also added some coloration, making the sound more beefy and sustained, which I also liked. The stereo width and definition was a tad better with the oversampled plug-in but I kind of fancy the coloration of the transients in the non-oversampled plug-in, because it somehow suited the acoustic guitar. I wanted to use the auto-release to tighten up the sound without squashing it too much, and it worked very well on this stereo-dubbed acoustic guitar. Personally I've never quite fancied using the auto-release setting on a compressor, but when the compressor is good enough it can lend you a helping hand when mixing.

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