PentaComp
What PentaComp is and how to get the most out of it.
Product Version: 2.0 Beta · Last Updated: 4th July 2023
Concept
There are numerous benefits to multiband compression over single band compression, but there are also many pitfalls, all of which are addressed in GMaudio PentaComp 2.0.
The first pitfall is phase shift and colouration from the crossover filters. Version 2 uses 12dB/octave ‘Dynamic Phase’ crossovers to ensure no colouration of the signal when there is no gain reduction, allowing parallel compression with zero latency. Version 1 used 24dB/octave Linkwitz-Riley crossovers which are somewhat of an industry standard, but do not allow parallel compression without distorting phase.
Next is the ability to disproportionately affect the spectral balance of a signal, this occurs when one band is working harder than others and can seem like an improvement at first but ultimately reduces power and clarity of the signal. In version 2, the sidechain filtering takes into account ‘Loudness Contours’ and ensures that the compression is focused on areas sensitive to our hearing. This combined with band linking and stereo linking, reduces the independence of each of the 10 compressors and results in more natural compression.
Lastly is the number of controls. A multiband compressor can have 20+ controls resulting in more time spent making adjustments to suit the material and less time making actual music. PentaComp v2 has a completely new ‘Speed Multiply’ algorithm which varies the attack and release times for each band depending on crest-factor and the peak-level beyond the threshold, which enables it to more effectively and transparently control dynamic range and adapt to the input material. Combined with carefully selected attack and release times based on the fixed crossover points, tested on hours of music and tweaked with every iteration, the necessity for these controls no longer exist. Many other parameters were treated in the same way, hidden from the user and set to ‘ideal’ values, resulting in a signature sound. This is the area where I felt version 1 was lacking and was the main reason for developing version 2.
Many other technical advancements were made along the way, such as antiderivative antialiasing, continuous gradient smoothing filters, custom dither and an improved soft-knee implementation, all in an effort to reduce distortion and make GMaudio PentaComp meet or exceed expectations when compared to the best plugins on the market.
How to use it
GMaudio PentaComp 2.0 can be used on any signal where the control of dynamics or tonal balance is desired. It was originally designed to control groups of tracks or full mixes, but works just as well on individual instruments.
The default settings are perfect for transparently controlling the peak level of individual sounds such as kick, snare, bass or lead and may only require some adjustment of the Threshold.
Lowering the Threshold will make the device react to more of the sound as shown by the Gain Reduction meters. Once the desired amount of Gain Reduction has been reached, you can use the Loudness Match button to automatically adjust the Output Gain to make up for the decrease in amplitude. Now you can bypass and enable the device and make objective comparisons with the unprocessed sound. If the Threshold is set correctly, you will often hear a subtle enhancement in width and punch with the device enabled.
Example of acceptable gain reduction on an individual instrument
If more control over tonal balance is desired then try using a slower Speed and lower Threshold, this will slow down the overall Gain Reduction but still allow the adaptive algorithm to react to fast changes in peak-level, resulting in a kind of adaptive EQ, balancing out the sound while still controlling dynamics. This will require more Output Gain to compensate for the volume change, so be sure to use the Loudness Match button so you can compare the before and after. If you would like to reduce the overall effect of the processing taking place you can then reduce the Mix.
Example of using it like an adaptive EQ
If you would like to use PentaComp more like a limiter and control fast peaks, then you can try increasing the Speed and Ratio and also adjust the Threshold so that Gain Reduction occurs more occasionally. You can then improve PentaComp’s ability to catch peaks via the Options panel and enabling Lookahead.
Example of using it like a limiter (2ms lookahead)
Also in the options panel you will find the ability to enable an External Sidechain signal, so you can apply Gain Reduction based on the peak-level of another signal. This could be used for ducking synths or basses away from drums or vocals. The result will often be improved with the use of some Lookahead.
Example of SC compression with 5ms lookahead
There is also an option to enable a unique saturation algorithm to the lowest band to help control low frequencies while also giving them more power and apparent loudness, perfect for drum groups, basses or full mixes.
Controls
Threshold adjusts the level at which Gain Reduction occurs.
Tilt adjusts the Threshold for each band relative to the centre band, allowing you to focus Gain Reduction on higher or lower bands.
Ratio adjusts the Ratio for all bands and therefore the maximum amount of Gain Reduction that can occur.
Speed adjusts the initial Attack and Release times for the compressors.
Options expands the Options menu, allowing access to further controls.
Style selects between various styles of compression, changing numerous internal parameters. More styles to come in future updates.
Low Saturation enables a Folded Tanh Saturation algorithm on the lowest band prior to compression. This can act as a compressor/limiter on its own, add glue to buses/groups and provide more apparent loudness to bass parts.
Lookahead adjusts a delay between the Input and Output allowing for compression to take place ahead of time. This allows for more control over Transients or to Duck the signal before the ‘External Sidechain’ arrives.
External Sidechain allows a signal other than the Input to control the compressors. This is typically used for ducking a signal out of the way of another, so it can take precedence when required and maximise headroom.
Solo allows you to listen to the Difference between the Unprocessed and Processed signal, so you can hear what is being affected by compression or saturation.
Output Gain adjusts the Output Gain of the device, allowing you to manually adjust for differences between the Input and Output Level, or use the ‘Loudness Match’ button, for objective comparisons when bypassing the device.
Loudness Match when clicked, adds the difference in Loudness (Short-Term LUFS) to the ‘Output Gain’ in order to match the Level of the signal prior to processing. This button is only Active once Live’s Transport has been running for 3 seconds and will be Inactive for 6 seconds once clicked, to allow a new LUFS calculation to take place.
Mix adjusts the balance between the Unprocessed and Processed signal, allowing for Parallel Compression & Saturation.
GMaudio PentaComp 2 is Push Ready with relevant controls being accessible via an Ableton Push.
Styles
FS Modern provides transparent compression for catching peaks and controlling dynamics. It is designed for any signal but works best on groups of instruments such as drums and synths.
FS Modern M enables an adaptive knee to reduce over compression and retain punch and adjusts band timing slightly for more controlled mid frequencies. This style is suitable for Mastering.
TLDM Drum&Bass M is designed with low ratios and gain reduction values in mind, providing glue and dynamic control for the master track of your drum and bass tunes.
TLDM Dubstep M adjust the tilt for more or less top end control
TLDM Bass Tightener will help you control your obnoxious low end. Add Low Saturation for more bass treatment.
TLDM Drum Smasher adds vibe and energy to your drum bus. Use with higher ratios and a mix of 40-70%
Controls continued
By default, this device has a 6dB knee, so it will start compressing 3dB below the Threshold and will reach the ‘Ratio’ 3dB above it.
Tilt in combination with a slower Speed, can be used to adjust the Tonal Balance of the Input similar to that of Dynamic EQ.
The Attack and Release is adjusted automatically by the “Speed Multiply” algorithm which takes into account the Crest Factor and Peak Level beyond the Threshold in each band, speeding up the Attack and Release by a maximum of 4x. This allows large amounts of Gain Reduction to sound more natural when increased levels beyond the Threshold are present, speeding up the Attack & Release times for fast changes in level.
Latency
GMaudio PentaComp has Zero Latency unless Lookahead is enabled.
Tips
Try two instances, one slow one fast.
Try it on all full range signals throughout a project, such as basses, synths, drum groups, synth groups, sfx groups, vocal groups and the master to reduce masking while also controlling dynamics.
PC2 is a very capable mastering processor, great for demos, live performance or work for clients.
PC2 is similar to expensive broadcast processors and works great for podcasts, radio and dj mixes.
Classic & Open mode
Using Solo plus the dry signal for expansion, or solo (fast) + Saturation for bite.
How to use LM.
If you find an interesting way to use GMaudio PentaComp 2, let me know or make a video for social media with the tags #gmaudio #fixationstudios #pentacomp and I’ll find you and give you some freebies if I like the content :D