FS PentaComp — Max for Live

Concept

There are numerous benefits to multiband compression over single band compression, but there are also many pitfalls, all of which are addressed in PentaComp Version 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. Multiple adaptive compressor designs are included as Characters (with more coming in future updates), providing a macro control for compressor tonality, all of which make use of a new ‘Speed Multiply’ algorithm to vary 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 constantly adapt to the input material. Combine this 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 many controls no longer exist.

Users can also design their own compression Styles using the Editor and share them as simple txt files, opening up new forms of collaboration.

Many technical advancements were made along the way in an effort to reduce distortion and make PentaComp meet or exceed expectations when compared to the best plugins on the market.

How to use it

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, and can then bypass/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.

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. You can then reduce the Mix to reduce the overall effect of the processing taking place.

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 Editor Window and enabling Lookahead.

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.

Device 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.

Solo allows you to listen to the Difference between the Unprocessed and Processed signal, so you can hear what is being affected by compression.

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.

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.

View Editor opens or closes the Editor window, where styles can be created and edited.

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.

While the device is fully compatible with Push, including Standalone, the Style parameter cannot be controlled via Push without creating extra undo steps, and is therefore disabled until we resolve the issue

Editor Controls

Name is the label used for selecting the Style.

Description is information shown in the Editor about the style and how it should be used.

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.

Character changes between compressor designs with alternative characteristics.

New Style resets all Style parameters to initial values with placeholder Name and Description, so you can design your own style from scratch.

Import Style allows you to import a Style from a text file. This could be used to load a style that another user has created. Be sure to save the Style once it has been imported.

Export Style allows you to export a Style to a text file. This file could then be shared with other users and imported.

Save Style saves all of the current Editor parameters as a User Style. Styles are stored in a styles.json file, in the same directory as the device.

Reset Style reloads the currently selected Style.

Delete Style requests removal of the currently loaded Style from your available Styles.

Editor Window Zoom adjusts the zoom amount for the Editor Window.

LR Linking adjusts the linking between Left & Right channels for all 5 bands.

Band Linking adjusts the linking between each band. Bands closest will be linked first, while 100% linking will link all bands together, effectively making it a single band compressor.

Styles

FS Modern provides fast and punchy compression with an adaptive knee 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 provides a smoother, feed forward/backward hybrid compressor design with gentle non-linearities, and adjusts band timing slightly for rounder bass and more controlled mid frequencies. This style is especially suitable for Mastering and incurs 1 sample latency.

Latency

PentaComp has Zero Latency unless Lookahead or the Smooth Character is enabled.

Tips

Try two instances, one slow one fast (using the Speed parameter).

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.

PentaComp is a very capable mastering processor, great for demos, live performance or work for clients.

PentaComp is synonymous with some expensive broadcast processors and works great for podcasts, radio and dj mixes.

Always Loudness Match and compare before and after.

Styles are saved to a json file in the same directory as the device. This means your created styles will move with your project when you Collect All & Save in Live.

If you find an interesting way to use PentaComp, let me know. If you’re making social media content please use the tags #gmaudio #fixationstudios #pentacomp so I can find you and give you some freebies if I like the content :D