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Zener Limiter. Having a real TG1 box will seem bigger and better, but sonically, this is pretty close, and for a tiny fraction of the cost of the hardware. Of course, there is no hiss or hum, although perhaps that is part of the magic of analogue!
To avoid the temptation of cranking towards total mush, one trick is to duplicate audio and mix uncompressed and compressed signals together for the best of both. Delay Compensation is useful here for phase accuracy of course, but the TG plugin seems to generate an exceptionally short delay of a mere four samples, or 0. The main difference between the two versions of the plugin are to do with the gain structure.
The authentic version features a Hold knob which is an effectively input gain, but it as it is adjusted, the resting point of the needle moves, indicating the amount of gain reduction available — as you turn it left the meter rises, showing the moving threshold. On the version, the Input gain simply drives the limiter harder as you turn it up, and more drive is evident here for more extreme gain reduction. I still frequently found myself with the Input up around 9 though, and the breakup never gets nasty.
However, this tone can be subtle unless a reasonable amount of gain reduction is taking place. The Limit and Compress modes are quite different, with Limit employing considerably faster attack and recovery times, as well as a higher ratio, so it is worth experimenting with both modes in any given situation. Attack is quick in Limit mode, but not so fast in Compress, which sometimes splats the front of vocal phrases if pushed. Limit is better for catching otherwise nasty acoustic guitar sprangs and so on.
Recovery settings reach ridiculously slow settings in Compress mode, the 10 seconds release for position 6 in Compress mode is super-invisible. It can, however, sometimes just congeal the mix nicely. The Universal Audio version of the Fairchild is terrific, but this is different, which makes it an interesting and appealing alternative to that and the Bomb Factory Fairchild.
Without signal, the VU meter tracks the Hold control's setting. Start at the 0dB center position and as you turn clockwise, more gain reduction occurs and the level increases. The version uses an Input control that pushes more and more level into the gain reduction section for more squash--this works just like an UA LN.
The version is for more subtle compression and limiting chores while the version can be set to pump madly to fantastically affect drum tracks or any dynamically chaotic recording.
This allows reading up to the 20dB of gain reduction possible in the limiter mode. Attack time is fixed at 8ms in limit mode and 47ms in compression mode.
After a quick install into a Mac G5 Quadcore, both plug-ins came up normally.
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