Notably, the CL 1B is very easy on the CPU, too.
Similarly, we had success squashing transients on picked electric guitar and bass.Īlthough probably not our first choice for mix bus compression, the fix/man mode can provide 'glue' in small doses, although its fixed fast attack won't appeal to everyone.
The attack and release options on the CL 1B are deceptively flexible, with enough variability to create 'snap'-style compression (ideal for snares) and pumping over-compression (great on overheads) without nasty, distorted artifacts. The 'fixed' preset was particularly good for quickly dialling in usable compression, and we very much liked the results on piano, which is one sound source that can be tough to compress convincingly. We tried the CL 1B on a number of sounds, including acoustic guitar, drums, piano, vocals and bass, and all benefited in one way or another. Users of the hardware version will also recognise the VU meter ballistics, which Softube have recreated very well.Ī quick spin through various settings shows that the CL 1B is adept at both subtle and audible compression, and that it has pleasing attack and release characteristics. Our first impression was very encouraging, with subtle changes occurring when inserting the CL 1B with no compression. But the CL 1B is also a tube and transformer design, adding a further layer of sonic interest. Optical compressors are prized for their 'musical' behaviour, making it easier to dial in a good sound. Like the original Tube-Tech compressor, labelling is sparse, simply ranging from 'fast' to 'slow', but in real terms, attack times range from 0.5 to 300ms and release goes from 0.05 to 10s.