简介:
PAA Audio美国场效应管v1.1.1已修补版包含注册机-摩卡
摩卡 | VST3/AAX | 6.7 MB
美国场效应晶体管
| 令美国唱片充满活力的500系列FET压缩器。
* 该工厂在发货前对每一件产品都进行了检测。固定读数，合格或不合格。American FET依据同一校准列表进行校准，在压缩和限制模式下均能准确达到全部六个电平读数。
* 付款前先试听。再往下: 插入和取出插件的情况相同，级别匹配，因此没有任何东西可以通过响亮而获胜。在它们之间切换并做出决定。
* 一个旋钮即可完成操作。天花板设置挤压和手的水平直回来，所以你可以依靠它，仍然土地，你开始。
* 在压缩机关闭的情况下进行涂色。模式关闭使离散放大器和变压器保持在路径中，因此您可以在不需要压缩的轨道上获得控制台重量。
* 电路解决，而你的音频通过它运行。JFET在其真实曲线上，分立的运算放大器作为晶体管级，变压器具有自己的铁。
这是一个快速的。JFET进行增益骑行，因此grab在瞬态结束之前着陆，并且其后面的离散运算放大器在工作时以自己的颜色推回。把它放在房间麦克风上，距离变成重量; 在网罗上，它找到了棍子。在人声上，它保持着线条，而听起来却没有任何东西。
这种设计仍然出现在已经有三个其他压缩机的机架中是有原因的。微妙之处在这里并不重要。鼓声听起来像是唱片，而不是会议，您会从整个房间听到它，而不是在第三个a-b之后。
到零件
* CEILING电路从原理图中的电阻阶梯上断开。2 dB每步，测量部分，而不是拟合到曲线。
* D-s侧链滤波器脱离了原理图中的开关网络，包括没有人注意到的部分: 它提升了深沉的低音和顶部。
* 输出变压器是原来的类型，用自己的铁建模。开起来时，它会进入饱和状态，而不仅仅是音量变大。
* 检测器重建样本之间的峰值，在380 kHz左右，无论您的会话运行的速率如何，所以短的瞬变被捕获，其中一个普通的数字检测器读取低。
所有内容均已记录在案，其中包括模型与实测硬件仍存在差异的部位。
颜色无压缩
将模式切换为 “关闭”，增益单元会偏离方向，但离散输出放大器和变压器会保持在正确的位置。现在，OUT不再是化妆控制，而是驱动控制: 推动它，然后将修剪拉回原处，以达到您想要的水平。
在宁静的源头，那条小径依然洁净。给它一个热轨，然后倾斜，铁开始工作，三次谐波远远领先于二次谐波，就像推挽输出级饱和一样。这是根本不需要压缩的轨道上的控制台重量。大多数压缩机让您在两者之间进行选择。这个没有。
您将获得
* 四种模式: C为2:1压缩，留的方式，L为20:1的限制，停止的东西死，关闭放大器和变压器没有动态，BYP为一个真正的旁路。
* CEILING是压缩本身唯一需要的控制参数。一次扫动即可从轻微的几dB调节到全开的限制效果。
* 四个释放时间关闭前面板，从0.1 s snap到2.5 s胶水。
* D-S将探测器向顶端倾斜。在处理人声时，它无需单独的插件就能起到去齿音的效果。
* 外部侧链，双/立体声链接/单声道模式，用于并行工作的干湿混合以及后变压器修剪，因此您可以驱动熨斗并仍然达到您的水平。
* 峰值保持读数在仪表下，所以你可以看到它实际上起飞了。
为什么不同: PCCN™
传统的DSP对结果进行建模: 固定的饱和曲线，冲动的响应，一天行为的神经捕获。PCCN模拟原因: 当音频通过电路时，电路被解决。您会听到曲线无法到达的地方。膝盖从检测器中的整流器出来，当增益单元耗尽空间时，比率变陡，并且驱动输出使变压器在放大器之前回答。
简介:
PAA Audio American FET v1.1.1 Patched Incl. Keygen-MOCHA
MOCHA | VST3/AAX | 6.7 MB
American FET
| The 500-series FET compressor that put the snap in American records.
* The factory measured every single one before it shipped. Fixed readings, pass or fail. American FET is calibrated against that same list and hits all six level readings, in Compress and in Limit.
* Hear it before you pay for it. Further down: the same take with the plug-in in and out, level-matched so nothing wins by being louder. Switch between them and decide.
* One knob does the work. CEILING sets the squeeze and hands the level straight back, so you can lean on it and still land where you started.
* Colour with the compressor switched off. MODE OFF keeps the discrete amp and the transformer in the path, so you get console weight on tracks that need no compression.
* The circuit is solved while your audio runs through it. The JFET on its real curve, discrete op-amps as transistor stages, the transformer with its own iron.
It’s a fast one. A JFET does the gain riding, so the grab lands before the transient is over, and the discrete op-amps behind it push back with their own colour while it works. Put it on a room mic and distance turns into weight; on a snare it finds the stick. On a vocal it holds the line without ever sounding like it’s holding anything.
There’s a reason this design still turns up in racks that already have three other compressors in them. Subtlety isn’t the job here. Drums come back sounding like a record instead of a session, and you hear it from across the room, not after the third A-B.
Down to the parts
* The CEILING steps come off the resistor ladder in the schematic. 2 dB per step, measured off the parts rather than fitted to a curve.
* The D-S sidechain filter comes off the switch network in the schematic, including the part nobody notices: it lifts the deep bass as well as the top.
* The output transformer is the type the original was built with, modelled with its own iron. Drive it and it saturates instead of just getting louder.
* The detector reconstructs its peak between samples, at around 380 kHz whatever rate your session runs at, so short transients are caught where a plain digital detector reads low.
All of it is written down, including the places where the model still differs from the measured hardware.
Colour without compression
Switch MODE to OFF and the gain cell steps out of the way, but the discrete output amplifier and the transformer stay right where they are. Now OUT isn’t a make-up control any more, it’s a drive control: push it, and pull TRIM back afterwards to land the level where you want it.
On a quiet source that path stays clean. Feed it a hot track and lean on OUT and the iron starts working, third harmonic well ahead of the second, the way a push-pull output stage saturates. That’s console weight on a track that needs no compression at all. Most compressors make you choose between the two. This one doesn’t.
What you get
* Four modes: C for 2:1 compression that stays out of the way, L for 20:1 limiting that stops things dead, OFF for the amp and transformer without the dynamics, BYP for a true bypass.
* CEILING is the only control the compression itself needs. One sweep takes you from a gentle couple of dB to full-tilt limiting.
* Four release times off the front panel, from 0.1 s snap to 2.5 s glue.
* D-S tilts the detector towards the top end. On voices it becomes a de-esser without a separate plugin.
* External sidechain, dual / stereo-link / mono modes, dry-wet mix for parallel work, and a post-transformer TRIM so you can drive the iron and still hit your level.
* Peak-hold readout under the meter so you can see what it actually took off.
Why it’s different: PCCN™
Conventional DSP models the result: a fixed saturation curve, an impulse response, a neural capture of one day’s behaviour. PCCN models the cause: the circuit is solved while the audio runs through it. You hear that where a curve cannot reach. The knee comes out of the rectifier in the detector, the ratio steepens as the gain cell runs out of room, and driving the output makes the transformer answer before the amplifier does.
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