However, the G Equalizers have more gain/cut range and also have switchable parametric/shelving capabilities. The G Equalizer does pull from the original McDSP FilterBank plug-ins. I did a loose A/B of the Channel G with the API 2500 bus compressor (set to feed-forward) and found them to be very close in sound and punch. It takes some time to get used to it, but once you do, it can really pull you out of some tough situations. This allows the compressor to react quicker to the signal and is more useful for limiting and hard effect processing. The forward topologies receive control signal from the input. However, API, Rupert Neve Designs, dbx, and a few others make units that utilize feed-forward designs. These tend to be very musical sounding to human ears. Most of the compressors we use are feed-back designs.
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A full explanation of the differences is beyond the scope of this review, but the feed type determines if the detector gets its signal before or after compressing the signal. Another feature is the ability to switch between feed-back and feed-forward compressor designs. In fact, you can set Channel G Dynamics to an outrageously fast. Because we're talking digital here, fast attack times are possible. This is probably due to the design of the knee control, which can gently ease into compression as well as act as a hard-knee compressor when needed. The compressor is very tight, controlled, and smooth sounding. (Of course, that kind of applies to anything you record.) With Channel G, you can save the gating until later, and even try it on sources as an effect. If you track with a gate, you have to live with your gated signal because it's printed. The G Dynamics configuration handles both compression and expansion/gating. It is a deep plug-in that can be used countless ways. Be prepared to find new uses as weeks go by. And it left me believing I could mix a whole CD just using Channel G and a few outboard reverbs.Ĭhannel G is a significant asset in mix situations.
I only had a brief time with the pair, but it was one of those experiences that made me think this is exactly what I like about analog-the tactile response, ability to make rapid changes, and fine control-with the advantages of digital plug-ins-near perfect recall, multiple instances, and expanding feature set. If you're lucky enough to have a D-Command, D-Control, or VENUE, you'll be floored when you see that Channel G maps lock-step to those surfaces.
Like most McDSP titles, Channel G is available in TDM and RTAS versions.
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Based upon the basic paradigm of "the analog console as a studio's centerpiece", Channel G combines four components into a cohesive package: G Dynamics-console style compressor complete with expansion, limiting, gating, and filters G Equalizer-five-band EQs plus more filters G Console-channel-style combo of G Dynamics and G Equalizer and G Surround Compressor-a comprehensive dynamics solution for post production and 5.1 mixing. While Channel G does make use of concepts from previous titles, it is very different in sound and function. We already own McDSP's Compressor Bank, Equalizers, and Analog Channel, so I figured Channel G was just those components strung together like the Waves Renaissance Channel is. Mistake of dismissing it as a repackaged application. When I first read about McDSP's Channel G, I made the