You can chuck in multiple instances of the plugin without putting a strain on your machine. It adds weight to any signal, which can help for weak-sounding vocals to stand out.Īnother added bonus is its relatively small CPU footprint. An instance of R-Vox instantly puts your signal into the front and center of the mix. Nevertheless, this plugin’s ‘plug-and-play’ philosophy helps producers focus on other mixing aspects by automating the gritty details.
Needless to say, producers who want more control over the attack and release times may find the Renaissance Vox too wild of a beast to tame. But for singer-songwriter tracks, this is great.īut despite the complex tech behind R-Vox’s processing chain, users are only given three controllable parameters, which are expander and compressor thresholds and output attenuation. If you ever feel the need to lay down the law in your vocal mix, refer to the other units mentioned. I may just suggest that it could see you struggle with less controlled singers like Rappers. But if you want a character unit to supplement your core compression, or you want to choose one unit to live with then this could be it. This compressor isn’t a jack of all trades. The Parallel options seems slightly unusual as that effect is normally used with more brutal compressors but we won’t complain that it is there. Softube added a few extra features including a separate saturation section so you can control how tubular it all gets. “Smooth”, “controlled”, and “softening” are common adjectives applied to the TLA-100. Besides the Tube-Tech, the other compressors so far have tended to be rough and rowdy (which has its charm) but the TLA-100 is smoother and less noticeable as it goes about its work. The reason this style of unit works so well for vocals is that it tends to be kind.
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