Neil Citron

Featured in a series of tweets by Citron, starting with this one.

@presonus Here @sonicranch working in studio A with Presonus Studio One!

Mentioned on the official H-Comp product page.

“What I love about H-Comp is the ability to crush with attack and punch and then dial back either the Threshold or the mix to tame it into the track.”

Featured in this article from the official Waves website.

I used to do this mixing with the Aphex Aural Exciter hardware, and it works just as well with the plugin. I set the toms using the RS56 Passive EQ or some other EQ with a ton of mids and lows and not too much top. I then use the Aphex Vintage Aural Exciter as I would with parallel compression, but as a parallel EQ. Using an aux track I set the Aphex Exciter for the clarity and punch that I want, and I slide it in to taste. This works better than adding it to the toms directly (as an insert) – try it and you'll see what I mean. It adds all that a drummer would love, without killing the mix when the thunder happens. Thanks to Waves for making this plugin sound and act like the hardware!

Mentioned in this article from the official Waves website.

I used to do this mixing with the Aphex Aural Exciter hardware, and it works just as well with the plugin. I set the toms using the RS56 Passive EQ or some other EQ with a ton of mids and lows and not too much top. I then use the Aphex Vintage Aural Exciter as I would with parallel compression, but as a parallel EQ. Using an aux track I set the Aphex Exciter for the clarity and punch that I want, and I slide it in to taste. This works better than adding it to the toms directly (as an insert) – try it and you'll see what I mean. It adds all that a drummer would love, without killing the mix when the thunder happens. Thanks to Waves for making this plugin sound and act like the hardware!

Citron is listed as one of four users in this article from the official Waves website. He offers his recommended settings.

1. Overheads

“On overheads, depending on the sound of the cymbals that were used, I cut anywhere from 3.5K to 6.5K for edge or bite, which sometimes takes up to 6 dB of cut. This softens the crashes and allows the overall kit to open up. Then I look at 110 Hz and below to find the least amount of cut in order to clear the rumble. I compress after I get the sound I’m looking for – this way I don’t have to compress so much that the sound becomes dull. SSL does this really well and without changing the energy.”

1. Stereo Guitars

“For stereo guitars, I love 1K on one side and 2.5K on the other. I bump 300 Hz on one and 400 Hz on the other. This works well for adding body and warmth to most guitars.”

1. Vocal Double

“On a vocal double I like to compress hard with 1K plus 3 to 5 dB and cut some bottom to support the main vocal. Compression instead of distortion is my preference, but both work well in this situation.”

1. Buss Compression

“Buss compression is always 1.5 to 1, with open threshold and release times to add some breathing to the beat. This also adds dimension to your mix.”

A user of the software, Citron did a five-part video series for Waves advertising GTR3 during its release.