If you thought optical compressors were predictable, UVI’s latest gem might get you thinking again. Jon Musgrave is dazzled by the colour…
We usually associate software developer UVI with its excellent Workstation and Falcon synth. However, the brand also has a stable of excellent effects available both individually and in a new discounted bundle (see The Effects Bundle). This latest versatile tool is a compressor/limiter. Opal stands for ‘Optical Program-Adaptive Leveller’ and takes major inspiration from the classic T4 optical levellers such as the Teletronix LA-2A. However, unlike many similar plugin emulations, Opal has an impressive seven profiles based on seven different hardware units. This may seem like overkill, but when you use the dropdown menu to select a model, the plots indicate noticeable differences in attack, release and knee shape.
Much like the classic hardware, Opal’s compression is applied using just one control, Peak Reduction, although this is more logically positioned on the left of the large output/gain reduction meter. Meanwhile, post compression gain is applied using the manual Make-Up Gain – there’s no automatic option.
These core controls are joined by a whole host of adjustable extras, some of which are based on the original hardware, but most of which are software enhancements. These include Input Gain, output Mix, harmonic Drive, attack/release Responsiveness and sidechain Mid Presence. Meanwhile switchable settings include Ratio (Compressor/Limiter), Treble boost, Tube Simulation and external sidechain. Rounding things off is a gain reduction graph.
Whether you’re after a more laid-back mix glue or aggressive drum treatments, you can grab a model
The model
One of the great things about the LA-2A is its simplicity and in its default state, Opal can be used in much the same way. You’ve also got 31 task-specific presets to get you started.
Nevertheless, with the default loaded we worked our way methodically through the seven models. It has to be said, some of the models (NYC Custom and LON Velvet for example) are very similar. But when you switch between others (LAX Swift and DTW Vintage) the differences are considerable. There are also subtle differences in each model’s harmonic distortions. This provides lots of options from the get go, so whether you’re after a more laidback mix glue, aggressive drum treatments or core vocal containment, these are all available simply by grabbing a suitable model.
However, the models are only the start and in addition to the ratio (Compressor/Limiter) you have some pretty powerful tweaking options. The most significant is Responsiveness, which collectively adjusts the attack and release either faster or slower and is capable of taking the more aggress
