I use the Millennia Media TCL-2 compressor plugin from Plugin Alliance for both mastering and on keyboard channels because of it’s smooth transparent nature. Here’s how I set it up for both situations.
The Millennia Media TCL-2 compressor is an optical compressor with two different output types — discrete JFET and tube.
I favor the JFET output over the tube in almost all situations, but you can do some very interesting things by having both in hand with this compressor.
But first, the question of why you would want to use an optical compressor must be answered.
Optical Compressors
Why Use an Optical Compressor Plugin?
A light-dependent resistor (photocell) alongside a light source operates in optical compressors to serve as the gain reduction mechanism. The particular design of optical compressors creates sonic and operational characteristics that make them highly important in audio production.
An optical compressor plugin should be used when you need smooth musical transparent compression which suits vocals and acoustic instruments along with any audio sources requiring natural dynamic and warm tones. Professionals choose the Millennia TCL-2 plugin because it accurately reproduces a respected hardware device and features dual operational modes between tube and solid-state technology alongside M/S processing and dry/wet control options while maintaining transparency and versatility. The Millennia TCL-2 stands as an excellent choice for top-tier optical compressor plugin users who need high-quality sound for both subtle and critical dynamic control tasks .
The attack and release times of optical compressors operate at slower rates and produce more musical characteristics when compared to VCA, FET, and tube compressors. The sound of optical compressors stands apart from VCA and FET compressors and tube compressors because they produce smooth sounds without losing transparency.
Millennia Media TCL-2 Compressor Plugin
The Millennia TCL-2 plugin accurately emulates the Millennia Twincom hardware, which receives widespread acclaim for its pristine sound quality and adaptability.
The TCL-2 operates with a transformer-less high-voltage pure Class A signal path, which ensures minimal coloration along with maximum fidelity. Your audio remains intact because the plugin contains only one active stage in its signal path.
The “Twin Topology” technology of the TCL-2 plugin enables users to switch between complete tube and complete J-FET/solid-state signal paths. Users gain access to two distinct sonic options between these two configurations:
- Tube Path: Tube processing creates warm and rich audio with delicate harmonic tones.
- The Solid-State (JFET) Path: JFET processing delivers audio with clean detailed characteristics and transparent sound quality.
- Note that these two paths are not compression paths — the compression remains optical always with this compressor. These paths are colorization paths of the signal, and the JFET one is clean while the tube path is warmer.
The TCL-2 stands apart from other optical compressors by offering dual topology and high-end build quality along with its advanced features. It provides users with professional-grade sonic quality along with flexibility that justifies its premium status.
It is used a lot by artists who are in classical and acoustic music genres, so it also makes sense to use this compressor for ambient and electronic music where a high attention to detail and preservation of the source material is required.
Personally, I find it to allow the music itself to shine through without coloration or distortion of any kind, which is what I am striving for in a mastering situation and on my acoustic (piano, etc.) instruments.
To understand how to use this compressor and find a starting point, I read the hardware manuals.
The quick start manual gave me some good information about the release time and how to set it. It also told me what the timing is for each of the attack and release controls, as there are not good markings on the dials themselves.
From this I was able to compare to the plugin and found that the plugin only goes to 100 ms release time fully CCW, so this is a difference from the hardware.
The full hardware manual was interesting to read also and gave me a better idea of how the thing operates.
There was also a template file for the hardware that I found useful for keeping my settings in mind while using the plugin.
Reading the plugin manual was essential as the plugin differs a bit from the hardware, not only in the release time control as described above, but in some other ways as well.
Adjusting for Master Bus Usage
This below is my starting point.
For mastering, I like to have the clear tone of the JFET stage processing, so I have the TT button illuminated. The DYN IN is also illuminated, as I want the compression stages to be active.
The meter button is illuminated so I can see the gain reduction on the meters, as I want to have only about 1-2 dB while mastering. The needles should bounce around in that range while playing the source material through this plugin.
I click the stereo link button next, so that I can adjust only one control and it adjusts both the left and right channels. This makes it way easier to set this thing up. I just must remember afterward to de-illuminate this button.
For mastering, I usually have the ratio knob set to 2:1 (fully CCW, anti-clockwise) as I want gentle compression.
I play my source material through it while adjusting the attack and release until it sounds like there is some compression (reduction in sound of the peaks) and then back it off a little. This is highly subjective and I have to use mostly my ears while watching the meters to get only a bit of the needle movement of 1-2 dB of reduction.
With too fast of an attack, it can sound a bit like pumping where the sound drops off quickly and pulsates. This is not what I want, so if that is happening, I slow down the the attack.
With the release, if it is set too fast, then it moves the sound forward in the sound field. If that is what I want, then it is acceptable, and this is usually the case for instrument tracks, but not always for mastering. I find that in mastering, I tend to have the release control set to longer times. When longer, it moves the stereo image back and away from the listener, but also gives a sense of depth without it being a reverb-type of function.
Here is what the compressor typically looks like while I am mastering (notice how those needles are barely moving and reacting only to the highest peaks like the kick drum and some loud piano hits):
When on the master, it can be advantageous to check the level by de-illuminating the meter lamp. The meters then switch over to being VU meters with 0=-6dB (checked with VUMT by Klanghelm). In some cases, adjustment of the output level knobs would then be necessary, although slight.
Adjusting for Instrument Usage
With an instrument like a piano, I set the ratio at 3:1 or even higher in some cases.
Otherwise, the adjustment process is the same as for mastering. But I do tend to have a bit more gain reduction in the 2-4 dB range, with a quicker release usually for instruments that I want to stand out in the mix.
Here is what the compressor typically looks like when on an instrument like a piano, in this case (note that you hear the drums, but the compressor is on the piano only so it is not reacting to the drums):
I sometimes need to adjust the output level afterward, but this is usually a small adjustment.
Final Adjustments
For both mastering and instruments, when I have it set where I want it, I always de-illuminate the stereo link button. This keeps the two channels (left and right) separate from each other.
I like to make subtle changes between the two channels in the release and attack times in order to widen my stereo image. It is really a neat trick to get some separation that is subtle yet very powerful.
I also like to experiment with changing the topology from JFET to tube to see if the additional coloration of the tube path makes a pleasing difference. Usually, I leave it on JFET, but sometimes the tube path is needed for some enhancement. Often, I find that the tube sound dulls my instrument or master, so I like to stick with the JFET.
General Notes About Adjustments of This Compressor
Generally, this compressor can be extremely difficult to ajust for anyone, like myself, who is used to seeing what is going on with a display (like Fabfilter L2, for example). With this TCL-2 you have to use your ears, and I find that is almost exclusively what I am doing with this plugin.
So, try not to be discouraged with using this plugin, and rely primarily on listening. At first, it will seem that it is too subtle an effect to be useful, but when you dial it in correctly, you will like the result.