• Up to 16 channels Input/Output
• Generous -/+ 48 dB input/output gain range
• Input/Output gain controls for adjusting the levels before and after processing
• Dry/wet control offering true parallel dynamics processing and for blending some of the original “peak” into the processed signal
• Phase invert of the processed signal
• External side chain support for AAX (Native & DSP) and AU ; in mono and stereo format
• Discrete peak limiter at the very last stage of the processing chain rounding off the peaks in a smooth and musically fashion
• Three release modes are presented; manual, auto, and advanced (with minimum and maximum release values fully adjustable)
• Auto delay function allowing for zero attack times by introducing a delay line in the processed signal
  M/S Width for controlling the stereo width of the processed signal
• Link Channel, provides linked/unlinked processing (in M/S mode)
• True bypass control routing the incoming signal direct to the output for a smooth transition between clean and processed signal
• Side chain section featuring a three-band equalizer to generate frequency sensitive processing
• External side-chain available in AU (Mac OS X) and AAX Native & DSP (Mac OS X & Windows) only
• Input/Output gain controls for adjusting the levels before and after processing.

In addition to the common controls on a dynamics processor; ratio, attack, release, Pure DCompressor offers control over the fundamental characteristics of the dynamics processing, all in order to provide full control over the processing even in the most demanding situations.

Details:

Envelope, Time and Detection Settings

• Extended envelope settings with full control of Attack, Hold and Release with Manual, Auto and Advanced release modes.
• Zero attack time for the dynamics processing by introducing a delay reflecting the attack time into the signal path.
• Eight different detection modes interacting with the time and envelope settings as well as with the integration times for the RMS detection. Includes specific “Feed Backward” modes inspired by vintage hardware architectures for producing a naturally “beefy” sound.
• Dynamic Factor – Amplifies or diminishes the extracted real-time dynamics information.
• Dynamic Velocity – Controls the speed of variation on the extracted dynamics information.

Two parameters are provided that are kind of unique to dynamics processing; Dynamics Ratio and Level Independent Detection (L.I.D), using the dynamic range content of the signal and not just the signal levels as standard processors do.

Details:

Dynamics Ratio is controlling the amount of auto-ratio determined by the signal dynamics and the manual ratio setting. This literally opens the sound, increases the dynamic impression and keeps some crest by adjusting, in real time, the ratio of every dynamic processing section in regards to both the current ratio settings and the signal content (mainly dynamic range).

Level Independent Detection (L.I.D) controls the amount of auto-threshold determined by the signal dynamics and the manual threshold value, providing processing of the audio signal independently of the sound level and instead in regards to the signal dynamic range.

A Maximum mode can be engaged on the L.I.D control, allowing for processing that accounts for the maximum values of both the standard and the L.I.D detection schemes.

To control the actual Stereo width of the mix a built-in MS encoder/decoder is used to split the stereo-signal in its M and S components in order to control the actual stereo width of the mix.

Details:

The MS Width Control – Sets the stereo width of the processed signal. A -6 dB value deceases the stereo width. A +6 dB value increases the wideness of the stereo mix but can produce phase issue.

The MS Mode Control – Enables one MS encoding matrix at the input and one MS decoding matrix at the output of the dynamic processing in order to control the stereo width of the mix. When engaged, the side chain is fed by a MS encoded signal that is reflected in the display section. M channel corresponds to the normal left channel. And the S channel corresponds to the normal right channel.

(This feature is only available when two channels (no more, no less) are processed.)

Up to sixteen channels of simultaneous processing for multichannel surround configuration is provided. The processing can be disengaged on any of the channels leaving the material unprocessed, bypassing the original sound.

When operating on a multi-channel bus all, up to sixteen in total, channels are processed by default, though the processing can be disengaged for any number of channels leaving the material unprocessed and bypassing the original sound.

By doing this in combination with serial instances the material on any number of channels can be processed with individual settings.