"The FET compressor is a truly wonderful plug-in."Fab Dupont. Producer / Mixer Jennifer Lopez, Toots and the Maytals, Marc Ronson.
"The Trident A-Range and FET Compressor sound very, very analog to me."Greg Wells. Producer and songwriter for Katy Perry, Weezer, Adele, Timbaland, Mika, OneRepublic, Pink, The Deftones, Rufus Wainwright, etc.
"In regards to the FET: you guys got it right. It just sounds right."Glenn Rosenstein. Producer/Engineer for Madonna, U2, Talking Heads, Ziggy Marley.
The FET Compressor is an impressively faithful modeling of one of the most iconic compressors of all time. FET Compressor is loved for its aggressiveness and its tendency to add some tasty distortion to the sound source when driven hard. This compressor loves to be slammed and abused. But few things are so good they can't be improved, so we added a couple of nice features that makes it even more flexible than the hardware original.
In general, the FET Compressor can be used for deeper gain reduction than you would normally use with any compressor. The reason is that even at extreme settings, the FET Compressor shows no trace of the pinched sound many other compressors make when you push them hard. This ability for strict gain control is not least useful on lead vocal tracks that need to be kept in the listener's face. The distortion also adds a nice grit to the voice, highly useable in rock mixes but in no way limited to that.
Another common use for the FET is in drum mixing, where many engineers use it on room microphones, overheads or across the entire drum buss. Used this way, the FET Compressor has a way of bringing out a large, explosive sound in the Led Zeppelin vein. This is also an application where parallel compression is a useful technique, so we added the Parallel Inject control to facilitate this. To reduce kick drum pumping or let the bass guitar's low end bloom, use the side chain filter.
But there are still many more uses for the FET. Bass, acoustic guitars, pianos - bring out some edge or use the compressor's fastest attack setting to round off any transients.
- Sweet input and output stage distortion.
- Super fast attack time (just like the original)
- Lookahead (in case you don't find the original's attack time fast enough)
- Modeled "All buttons in" mode
- Continuous ratio (even between 20:1 and ALL) - but if you want the fixed ratios of the original, just click the ratio labels around the knob.
- Parallel compression.
- Detector low and high cut filters
- External side chain
- Stereo with synchronized gain reduction
- Very CPU friendly
- Meticiously modeled analog compressor. Each single stage of the analog unit has been modeled separately to achieve the exact sound and behavior of the original analog unit
Version 2.0 of the Softube plug-ins have the following minimum requirements:
All Native Versions:
- Mac OS X 10.9 or newer
- Windows 64-bit, versions 8 or 10
- Intel Core 2 Duo, AMD Athlon 64 X2 or newer
- Screen resolution larger than 1280x800
- 1 GB RAM or more, and at least 6 GB hard disk space for installation (individual plug-ins take less space)
- Any VST, VST3, AU, or AAX (Pro Tools 10.3.7, 11.0.2 or higher) compatible host application
- Softube/Gobbler account
- Gobbler application to manage license activation and plug-in downloads
- Please make sure that you always use the latest iLok License Manager. It is not included in the Softube installer, but can be downloaded from www.ilok.com
- Broadband internet access for downloading installer and register licenses
Note: All Softube plug-ins support both 32- and 64-bit hosts, although a 64-bit OS is required. Supported sample rates: 44.1, 48, 88.2, 96, 176.4 and 192 kHz, in both mono and stereo.
AAX DSP version:
- For AAX DSP you need to meet the requirements for the Native version. You also need to have an Avid HDX processing card
- Different plug-ins will have a different load on your HDX card, please see the AAX DSP Supported Instances per DSP card for more information
Please note: Windows XP and Vista are no longer officially supported.