To adjust and monitor the operation of the processor's exponential dual-stage design, two other uniquely named controls require some explanation.

The Snap control sets the incoming level into a fixed threshold compressor. Like an input level control, more Snap level more compression. Watching the rubber band get taut and loose, up and down, the compression quickly comes on at just the first few clicks on Snap's dial--a little sensitive for me--I could use more resolution on this control. There is also no calibration markings on the rubber band to tell you how much gain reduction is occurring and I think that is the whole idea here--not be too concerned with the technical so much. Use your ears because RBC sounds great at just about any setting!

I thought of the three-position Tension control as a preset compression ratio control. The first position, where the rubber band is loose with the two hands close together, is said to produce a "bouncier" sound although that depends on how high you run the Snap control and Attack and Release times you have. The rubber bands do not have a big flexing range to use them as an indication of compression amount. I think it is obvious just listening--so the rubber band metering is really just a "conversation starter" in the studio--and that is all good for me.

Selecting the middle or far right positions on the Tension switch provides better audio fidelity with less compression artifacts.

The RBC has other features that set it apart from other plugin compressors. The Crunch control adds a modeled Class-A input amplifier that will saturate the incoming signal before the compressor--I love it!

There is also a one-knob Tilt equalizer that simultaneously brighten/darkens the finished sound--a great idea on a compressor. And Weight engages a high-pass filter in the detection circuit (like a side-chain filter would work) to allow more or less low frequencies to pass. Sorry no frequency specs indicated for either Tilt or Weight but they work marvelously.

Lastly, Auto Makeup is supposed to keep your levels legal but these never work for me--I need to hear when the compressor is behaving badly. I also tried 2X and 4X oversampling modes if you're looking for the most pristine sound.

Some of my first tests were compressing stereo music tracks and I found it good for a touch up to keep them a little more even yet super clean. But I like RBC for noticeable compressor/limiter special effects. With loose Tension and higher Snap settings, I got those classic "squashed" drum sounds on individual kick drums and snares. The Wet/Dry Mix control is important here as is Attack and Release and they all work as expected. Low frequencies are distorted more with very short release times as expected and the attack of a kick drum is exactly adjustable with the Attack control as required.

This kind of precise control was invaluable for a drum loop where I wanted to control how much "spank" the kick and snare had yet still pull up the ambience recorded in the loop. I set RBC with the fastest attack--so fast that the attacks of the kick and snare were lost. Then I added back some of the loop's original sound with the Wet/Dry Mix control to provide the natural and original attacks and not the compressor's mangled ones. Awesome!

The MixLand Rubber Band Compressor sells for $29.95 MSRP as download. Check it out!

www.mixland.io/