Ott compressor9/28/2023 ![]() Typically, the HF band raises any hiss and air too, making the overall sound brighter, and it tends to modulate those sounds. The variable phase shifts and cancellations around the crossover frequencies also make significant contributions to the sound - the adjacent bands always interact where they overlap. While the exact nature of the resulting compression depends on the settings, the combination of ‘push and pull’ means OTT can (though doesn’t necessarily) heavily restrict a signal’s dynamic range, with the levels in each band often occupying a sort of ‘middle ground’ between the two thresholds. There are a few more settings but, taken together, those I’ve mentioned form a quick and convenient means of adapting presets to work with pretty much any source. You can also change the overall gain for each band, ‘scale’ the attack and release times across all bands, and there are also per‑band and global controls for scaling the amount of compression. You can tweak the crossover frequencies, the time constants and the ratio in each band. In a sense, it’s similar to aggressive parallel compression - that too can be used to raise low‑level details - but with upward compression the ‘lift’ of low‑level information is modulated according to the attack and release times, the curves and the ratio.Įach of OTT’s bands has two threshold controls, one for each stage. Like conventional downwards compression, upwards compression reduces a signal’s dynamic range, but it does so by lifting low‑level signals up towards the threshold. The first stage performs upwards compression while the second applies downward compression, both using the same crossover filter settings so that they operate on the same bands. In essence, OTT is a two‑stage, three‑band compressor. Some readers may find it helpful if I start by spelling out what the original OTT does, and the appeal it holds. Authorisation uses iLok, though you don’t need a physical dongle, and I found installation to be quick and hassle‑free. Like all Slate’s plug‑ins, it can be purchased separately, and is also included in their All Access Pass subscription service. MO‑TT is available in the usual formats for Mac and Windows operating systems. Now, with MO‑TT, Slate Digital have picked up the OTT baton and run the next leg, adding various features that should extend its appeal way beyond OTT’s traditional user base. So popular has it been, in fact, that Xfer Records developed a freeware VST/AU/AAX plug‑in to make it available to users of other DAWs. The OTT preset for Ableton Live’s Multiband Dynamics plug‑in has been used and abused for years, not least by EDM producers, to breathe new life into boring or static sounds. Slate have taken the famous OTT effect and added a whole load more control, creating a unique dynamics processor. MO‑TT’s scalable GUI first opens in Easy view, intended for those who want, simply and swiftly, to adapt the presets.
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