Features The d2 ($995) is modeled after the Red Range 2 Dual EQ and the d3 ($795) is modeled after the Red Range 3 Dual Compressor/Limiter. (Both models are available as a bundle for $1495). The d2 is only available as a TDM, while the d3 functions both as a TDM and an AudioSuite plug-in. AudioSuite plug-ins are file-based processors, whereas TDM plug-ins are in real-time. Both programs can be configured in mono or stereo.
The main screens of both programs look and “feel” much like the hardware versions. Visually, they have the same metallic red finish, “simulated” push buttons and rotary knobs. Next to each of the knobs is a numeric display indicating the setting. When the mouse is dragged over the knobs, the settings change. Additionally, changes can be mad by clicking on the number and typing in a new value or by hitting the arrow keys. Users of both programs will note that the d2 window is much larger than the d3. (I would like to see Digidesign come up with a spec for adjustable window sizes for plug-ins).
Focusrite d2 Multi-Band Equalizer The main difference between the d2 Plug-In and the Red Range 2 is the inclusion of a Cartesian Graph in the d2. This graph displays a visual representation of the current and active EQ settings. As adjustments are made to the filter controls, the Cartesian Graph is immediately updated. For example, entering a new setting to the Q parameter changes the corresponding width of the curve. This visual representation is a major advantage over the hardware version.
A maximum of six equalization filters are available in the d2: High-Pass (20 Hz - 6.4 kHz), Low Shelf (33 Hz - 460 Hz), Low-Mid Peak (33 Hz- 6.4 kHz), High-Mid Peak (120 Hz-18 kHz), High-Shelf (3.3 kHz-18 kHz), Low-Pass (100 Hz-18 kHz). Focusrite provides three different types of EQ configurations. These include 1-2 Band, 4-Band, and 6-Band. The more bands of the EQ band, the more DSP power is used. For example, the 6 band uses more processing power than the 1-2 band. And using stereo modules uses twice as much computational power as mono operation. On PCI systems, the d2 provides a maximum of 24 bands per DSP chip (16 bands for NuBus systems).
Also significant are the d2’s high-resolution plasma-style meters. The display is green at nominal levels, yellow for signals at -6 dB full signal, and red for overload. Relative level hash-marks are used for easy visual referencing.
Focusrite d3 Compressor/Limiter The d3 can be configured as a compressor, a limiter or both at the same time. If the compressor and limiter are used together, twice as much DSP power is used. And speaking of DSP, a single DSP on a PCI-based machine will power up to six d3 compressor or limiter plug-ins (half if both are used together). Nubus users get less horsepower with three d3 compressors or limiters (or one if both are used simultaneously).
The design of the d3 is very traditional. The compressor section has the standard controls for ratio (1.5:1 to 10:1), threshold (0 dB to - 48 dB), attack (1.0 ms to 150.0 ms) and release (25 milliseconds to 2.5 seconds). There is also an automatic release function. In this mode, the release time is program dependent and is based upon the audio signal being processed. If engaged, the release knob’s setting has no effect on the compressor’s release time.
The limiter only has a threshold setting. It ranges from 0 dB to -24 dB. The input section of the d3 also handles side chain processing. This is useful for controlling the level of one track (such as music) in relation to the amplitude of another track (such as a voice-over). Also part of the input section are the input (0 dB to -30 dB) and output (-12 dB to + 18 dB) controls. Lastly, the d3 has standard meters to indicate gain reduction and output levels.
One of the features in Pro Tools version 4.0 and later is automation. This can be a real life saver in a complex mix. For example, if the bridge of a song needs equalization, the d2 can automatically kick in and out at the right moments. In addition, TDM plug-in settings can be imported, copied, pasted, and saved. A Pro Tools librarian is also available to store settings for future use.
Summary It should also be noted while d3 is a new software product, d2 has been around for a couple of years and is currently in version 1.2.1. How do they sound? Absolutely great. Both plug-ins have a smooth and accurate quality to them. And it is obvious that they make a good pair - which is why they are available as a package. But do not take my word for it; check out the Focusrite d2 and d3 for yourself. You will be surprised.
Comparing the d3 with the Red Range 3
Focusrite was kind enough to lend me their Red Range 3 Dual compressor/limiter. My job was to compare it to the d3 Plug-in. Is there any difference between the plug-in and the hardware compressor? And how do each of them sound?
The Red Range 3 is one awesome looking box. Everyone who saw it wanted one. In addition to incredible performance, this unit looks like a piece of art. Its surface is comprised of a beautiful metallic red finish with stylish silver dials and two very distinct VU meters. I do not know how much it weighs, but this two rack box is one heavy processor.
It should be noted that there are functional differences between the software and the rack unit. Specifically, the rack does not display the range of numerical values that the software does. For example, the ratio control on the rack lists only the maximum and minimum values of 10:1 and 1.5:1. The software displays all incremental values as changes are made (the same holds true for Threshold and Release). For attack times, the Red Range simply has “F” and “S (fast and slow). Again, the software provides value settings (1.0 ms to 150.0 ms). Finally, the software has input controls while the rack does not.
With these types of differences, it was difficult to make any kind of “scientific” A/B comparison. However, both processors were set up as closely as possible. Pro Tools was configured with two stereo pairs of tracks. One stereo pair had the d3 inserted on an aux input. The other pair was routed through the Focusrite Red Range 3. The outputs of both went into the board. Uncompressed source material was digitally sent from a DAT into Pro Tools. In this way, we could compare both compressors with the same music at the same time.
What was the verdict? The d3 and the Red Range 3 are extremely close. It was difficult to tell the difference. To be more specific, I would say the hardware may be a bit warmer while the TDM is more transparent.
However, these differences are extremely minimal. Both compressors gave beautiful results. Either way, software or hardware, you ca not go wrong with Focusrite.