The DC-2 is a plug-in-controlled analog compressor that works in conjunction with the McDSP APB ("analog processing box") units (APB-8, APB-16) [Tape Op #134]. As I've noted before in APB-based reviews, the APB is a one-space rackmount box that attaches to your computer via Thunderbolt and locks into your audio interface's clocking in order to convert signals to analog, digitally control the analog processing in the APB, and then convert it back to digital and return the audio in real time via McDSP's APB plug-ins. Totally recallable analog processing that acts like a plug-in.
Let's get this out: I prefer mixing with analog gear. Utilizing a console, outboard racks, electro-mechanical effects, and printing back into a DAW (or even tape) is my favorite way to mix. But it's not always practical for working remotely, or if clients want mix recalls, or when my Jackpot! Recording Studio is booked up, so I offer in the box mixes at a lower cost. But damn, I miss the extra something that analog gear imparts. The APB system offers a recallable way of working, though it requires real-time, old-school mixdowns (duh, it's running analog processing). Because of the dual nature of the DC-2, it uses two channels of the APB's processing (8 or 16 channels) in mono and four in stereo.
The DC-2 might be the ultimate APB plug-in so far. A two-channel compressor with two analog compressors per channel, digital EQ, and controllable saturation, it allows all sorts of routing and parameter controls, so much so that I won't be able to cover it all here. In fact, I had to resize it on my screen to see all the knobs, buttons, and such. Let's just say it's the opposite of the "mystery box" plug-ins that offer little control (but can be amazing tools); the DC-2 has an abundance of flexibility one can implement. The two main compressor channels can run independently, linked, or as mid-side. They have peak and RMS detector modes, and they even have Type modes for FET, VCA, and optical-derived algorithms. The two compressors in each channel can be run in series or parallel (Split). The EQ can be run pre- or post-compression. It might sound daunting, but to a seasoned engineer it all makes easy sense at a glance as it's laid out really well. For anyone else, the presets offer excellent starting points.
The first use I tried DC-2 on was replacing my typical mix bus limiter plug-in on an in the box mix I'd completed the day before. I jumped to some mastering presets and was immediately bummed out, as the mix was now far more exciting. I thought, "Okay, louder and brighter always wins, so let me 'calm' down the DC-2 a bit." I lowered the amount of EQ boost and brought the Gain down to level-match my (very mildly set) previous limiter. Even then, it was still more exciting and worked well with the rock song. Each channel's Balance knob offers a way to blend the two compressors – that was a revelation on a mix bus, as was switching between the parallel and series routing. I assumed parallel would sound fuller, but in this case series did, though I bet I could change some settings and make the opposite happen.
A lot of the songs I get sent to mix have vocal tracks that were not compressed in the analog realm on the way in. It makes me sad, as a light compression setting while tracking – and then heavier compression while mixing – can lead to better balancing of vocal levels. I find myself "faking" this process by running two compressors in a row on tracks I get sent these days. How perfect that the DC-2 already has two per channel ready to go! I swapped out my compressor plug-in for the DC-2 on this song, and after a little tweaking (a minute) I had a sound that beat my previous one. Not again! On electric bass in Split mode, I got a crazy good fuzzy bass tone that sat well in the mix once the high-pass filters were on. Another win, goddamnit!
Having the APB's controllable/recallable analog processing while still (sorta) in the box is a real treat. I wish I had a unit at home as well as at my studio as I'd use it more, but – ironically – maintaining all the existing analog gear at Jackpot! keeps many new purchases at bay. The DC-2 absolutely proves McDSP's concept of the APB to be valid and important. That I was able to quickly get compression results that exceeded the plug-ins I've been using for years shows the true sonic value happening here. Yes, I'd love to fire up my console and get mixing, but tools such as the APB and DC-2 are a wonderful way to keep those flavors alive. The future will be interesting indeed.