Gainlab Audio DICTATOR Test by Barnabas Hidasi
Compressors belonging to the family of dynamics processors are perhaps the most misunderstood devices in the world of sound engineering, and surrounded by the greatest mystique. Most misunderstandings stem from the confusion of the terms dynamics and dynamic or punchy sound.
Many people think that compressor is the devil’s work, and destroys everything, or it’s a godsend and cures the world, so it must be used constantly. In fact, it should only be used if it is really needed. Always fit for purpose, set up properly. In principle, all dynamics processors, as their name suggests, were born to respond to and make dynamic changes. Of course, like most devices, it’s free from side effects. A compressor with immaculate technical parameters can generate harmonic distortion depending on the frequency content of the source, the amount of gain reduction and the time constants. It doesn’t matter whether we are talking about a digital or analog device, and what type of gain stage it has, or the audio signal path includes vacuum tubes, transformers, etc. These electronic componenets, topologies and technical imperfections give the distinctive character of certain equipment. From a usage standpoint, anything can occur from the need for transparent dynamics control to the use as an effect.
The difference in character
It is no coincidence that in a given situation for different purposes (types of sources, instruments, instrumentation, genre, etc.) different tool corresponds. It’s not uncommon that a gear ends up on something not because of its basic function, but primarily because of its character. It is the user’s responsibility to assess exactly what they need and why. The type of gain stage already determines the characteristics of a compressor, so there are other advantages and disadvantages of opto, diode bridge, FET, PWM, Vari-MU, VCA designs. The subject of our investigation is a stereo compressor called DICTATOR by GAINLAB AUDIO, which falls into the Vari-MU category. The tested device took place at the very end of the development phase, but was not yet the final version, so – especially in the exterior – the developers made small changes to the finished product. It is housed in a traditional 2U high 19” wide rack-mountable enclosure with controls located on the front panel between the VU meters. At the back, you can discover the XLR sockets for audio inputs and outputs, and a GROUND LIFT switch. The later is designed to eliminate ground loops occuring in some cases by disconnecting pin 1 on the audio outputs. Because it is specifically designed for stereo mode and not dual mono (although the stereo link can be turned off), each parameter can only be set by one controller for both channels at a time. As a result, there is room for clean and transparent ergonomics, accompanied by sufficiently large and well-distinguished pot caps.
Speaking of knobs
In fact, there is only one potentiometer that allows the THRESHOLD to be changed continuously, all other controls can be switched between discrete values, by multi-position rotary switches, so the settings can be recalled quite easily. In the upper left there is the input level control (INPUT GAIN), which can be set between 0 dB and +10 dB in a total of six steps. Above the middle right, the output level control (OUTPUT GAIN) can be found completely symmetrically, also with values between 0 dB and +10 dB, in the same six steps.The meters, as appropriate, show 0 VU refering to input signal level of +4 dBu. The maximum signal level can be +22 dBu on the inputs and +26 dBu on the outputs. Next to the input level controller you will find the ON / OFF switch (POWER ON / POWER STANDBY) with the corresponding LEDs, while next to the output you will find the meter mode switch (REDUCTION METER / OUTPUT METER) with status lights. Output meters, as usual, show the output signal level from left to right, while the reduction from right to left (from 0 VU). Below the input gain you can control the time constants, attack and release. For the former you can choose from four (fastest, fast, slow, slowest) positions, while for the latter you can choose from three (fastest, fast, slowest). In the lower neighborhood of the OUTPUT GAIN knob, you can click two very useful buttons. The first offers a choice between two compression modes (LOCOMP and HICOMP), with a center BYPASS status. In the case of Vari-MU compressors, we cannot talk about an adjustable ratio parameter, because it increases continuously as a function of the signal exceeding the threshold. Therefore, a dedicated ratio control cannot be detected here either, but we have the option to switch the DICTATOR to a more aggressive mode (operating with higher ratios and less soft knee), this is the HICOMP position. The other knob is the SIDECHAIN FILTER, which covers a low cut filter. You can choose from five frequencies (22 Hz, 40 Hz, 80 Hz, 130 Hz and 200 Hz) or switch it off. The most striking feature of the device is the huge THRESHOLD control in the middle. The threshold level is set in reverse, as with some vintage gears, so turning it to the left (counterclockwise) increases it and turning it to the right decreases it. Fortunately, this is clear at first sight thanks to the captions and scaling. Under the THRESHOLD pot there is a switch that can be used to unlink or link the two channels of the stereo. Two LEDs (LINKED / UNLINKED) provide information about the current status.
The sound of the DICTATOR
Of course, more important than the imposing appearance is what it can be used for and what sound capabilities it has. Basically, Vari-MU compressors are not the fastest. However, they are faster than opto ones and do not have the typical dual release phase that those typically have. On the other hand, they can’t react as suddenly to transients as their FET or VCA counterparts, and they can’t “iron out” things as much. However, thanks to these, as well as the soft knee behavior and the harmonic distortion generated by the tube, they sit in the mix really well. The only question is to what extent these properties are present and how the factory-defined optional parameters affect the final result. If I had to summarize this very briefly, I would refer to it as “specifically musical”, but it is a much more versatile outboard gear.
Indeed, its greatest virtue is that in the LOCOMP position it can keep the dynamics in check while being free from negative side effects. Of course, by selecting the appropriate time constants and SIDECHAIN FILTER frequencies and not exceeding the 5-6 dB gain reduction. It has a very pleasant harmonic distortion which makes the sound image a little more open without being intrusive or unnatural. Perhaps the most applicable term for it is the “transparently characteristic” oxymoron. The above mentioned, specifically musical behavior is especially ideal for handling a mix with an airy instrumentation, when the end result has to be “glued together” while the dynamics need to stay natural without a compressed feel. It also proved to be a good choice for an acoustic guitar. It’s downright great for drums overhead, even with tougher genres. It compensates for any internal level imbalances by maintaining the natural-feel sustain of the cymbals, but the various elements become more present and a more massive, cohesive image is obtained. The key lies in the time constants, which, even among Vari-MUs, tend to fall into the slower category. For me – when tested with a variety of sources – the FASTEST, FAST and SLOW ATTACK settings combined with FASTEST RELEASE proved to be perfect. In any case, I chose the fastest RELEASE, which is not Speedy Gonzales either, but it gives that certain naturalness thanks to this and the SIDECHAIN FILTER. It is able to pump at higher gain reduction (more than 6 dB) or in HICOMP mode, which works especially well for drum bus or room compression. In the case of acoustic drums, the bass drum and snare drum can be “pushed”, punched, snapped and clicked in such a way that the thickness and body are retained. (It’s like using an 1176 parallel in all-button mode.) Even on a snare, you can feel that the trick doesn’t even show up, believing that a cave troll started the hit with a broomstick from behind its shoulder … It also folds bass guitar or double bass tracks nicely and makes them more definite. It can also do a good job with wind instruments, but I don’t have a soft spot for it with cimbalom (hammered dulcimer) or piano. For electric guitars or mix bus compression of tougher genres, it’s not “punchy” enough, so don’t expect an extra click in a funky guitar or an offensive sound with a heavy metal band. It’s not for that, as it is not for ironing solo instruments, so we can’t completely “keep the vocal in its place” in the mix. In the case of vocal tracking, it can serve well if you don’t want the victim to be disturbed by a compressed sound, but help keep her or him in front of the microphone. All in all, my overall impression is very positive. All along, I felt like I was dealing with an excellent device that would boldly find and stand its place among the “big ones” in the rack of any studio. I think it’s definitely a gap filler because it’s very rare to meet such a musical and natural character. Being a domestic product, it fills me with great pride.
