Name: Flucti-Mew Mastering Compressor/Limiter
SKU: 2325
Price: 25.00 USD
Availability: InStock

Product Description

This library is now available in 4 sample rates- 44.1khz, 48khz, 88.2khz, and 96khz.

It’s often compared to the classic 660 as it uses the same gain control principal, but it has its own sound/behavior. Some really like it on stereo stems/buses and it’s even commonly used in mastering (this library is even ‘based on’ the mastering version). Many like it for drum stems and overheads, and many report getting best results with only a few db of compression. It can be used for tone enhancement, and works well with things like electric guitars, pianos, e-pianos, and vocals, but really it can be used on just about anything with the right settings.

Both the compressor and limiter settings were sampled, with the limiter setting providing a hard knee and compressor a soft knee. Both were combined into one program, allowing you to transition between the two to get results ‘in between’, which isn’t possible with the actual hardware. You can also go ‘in between’ no compression and the soft knee compressor setting, allowing you to get more subtle results (or interesting parallel compression results- see tips at end of manual), again not possible on the hardware. However, if you want to stay authentic you can always use the exact ‘compressor’ or ‘limiter’ settings.

There is also a bonus compressor called “Flucti-Mew Special”, which was sampled from the same hardware as the main Flucti comp, but with two **76 compressors driving it (one per channel). At higher levels of gain reduction the 76 comps are providing some of the compression. To make it even more interesting, I took the sampled attack/release behavior as well as the level detection setup from a different compressor release of mine- the Smack VU. The result is a very different sound compared to the main Flucti-Mew compressor. It also has higher levels of harmonic saturation with hotter inputs. This is more of an experimental thing so just try it out and see if you can find any uses for it!

Programs were all sampled in stereo, providing left and right channels that are very subtly different, adding to the analog imperfections that most of us came to Nebula looking for. There’s also a ‘pass-through’ program done like the typical Nebula preamp style programs, for getting some tone of the hardware without any compression.

Lastly, there is a really nice looking skin made by JPN, which allows quick and easy program switching by pressing buttons on the skin. This allows you to switch between the lite, full, and SHQ versions without losing your settings, as well as between the Main and Special versions of the compressor.

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Manual: You can take a look at the manual here!

First demo shows a vocal with a simple rough mix underneath it. First you hear the vocal dry, then again compressed (the rest of the mix is the same in both cases).

Next is a drum bus. First you hear it dry, then compressed using the sampled 'compress' mode setting (soft knee), several times, with progressively more compression each time. An attack of around 20ms was always used, along with release of around 200ms, so the compression is mostly emphasizing the attacks and squeezing the body of the drums down.

Same drum bus, but this time the sampled 'limiter' mode (hard knee) setting. Same progression, from less to more compression, so you can see how the compressor sounds going from subtle to more extreme compression. Same attack/release settings. Again, you hear dry first.

Electronic mix, first dry then compressed using various settings (including some parallel type setups as described in the tips section of the manual), with various amounts of compression, and settings on and between the hard/soft knee modes. These are only a few of many possibilities.

A mix, using the drums from the drum bus example above, along with other elements. First you hear everything completely dry. Then, you hear the mix with the drum bus getting compressed, and all the other elements getting compressed separately, with various different settings/compression amounts. Then you hear it again, but this time the entire mix is ran through the compressor again for some mastering compression/glue. The differences are always subtle because small amounts of compression were used in all cases.

A different part of the same mix, with the same situation as in the last demo.

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Flucti-Mew Mastering Compressor/Limiter

Product Description

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All products include 44.1 and 96khz versions. Some have 48 and 88.2khz also.

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