The hardware ADR F769X-R Vocal Stresser combined the ADR F760X-RS with its limiter, compressor, gate, and expander, with a four-band equalizer. The equalizer can be connected before, after or in the side-chain of the compressor.

With the exception of the Pre-Emphasis limit mode of the hardware ADR Compex units, all the same controls, exact parameter values, identical frequencies and (sometimes quirky) operation of both the F769X-R and F760X-RS are successfully modeled in +10 dB Channel Strip.

The +10 dB plug-in adds modern functionality with the addition of a Wet/Dry control for parallel processing and the bundle includes separate +10 db Compressor and +10 dB Equalizer plug-ins.

The sound of the Compex limiter was made famous when engineer Andy Johns used Audio & Design Recording's compressor modules (the Compex's predecessor) to record John Bonham's drum kit for their seminal When The Levee Breaks among other Led Zeppelin songs.

Like the original units, the sounds possible with +10 dB are bold, powerful and not subtle. When placed on stereo room drum tracks I had recorded in Pro Tools 11 HD, I found the +10 db to be explosive and sound similar to what is possible with the hardware unit. Operationally, I found +10 db to be easier to set up and use than the hardware Q2 Audio ADR Compex Limiter F760X-RS--even the latest iteration that I reviewed for Mix Magazine.

I did find the toggle switches (Expander Attack, Comp Attack times etc. on the limiter and the Dip/Peak toggles on the EQ) on the GUI to be fiddly. Boz Millar said that with the next iteration those switches change to drag and click operation.

A super feature that I wish more plugs used is (what I'll call) the "Help Window" at the bottom of the GUI. Instead of (what I find annoying) seeing help bubbles that pop up all over the front panel when you mouse over any switch or control, the names of the controls and switches with their current value are always shown down in the Help Window--brilliant!

I liked having the choice of putting the EQ pre or post the limiter--especially when low frequencies tend to trigger excessive limiting. The equalizer has up to 20dB of cut/boost and when placed post limiter, it will brighten up any "Sir Squashes-A-Lot" compressor treatments. I also found using the EQ in the side chain worked well to reduce the low frequencies from pumping and was generally great for special effects--but I do wish there was also an external key input.

Lastly, I enjoyed having the equalizer and limiter as separate plug-ins. The EQ is very colorful sounding--not clinical or precise at all. Just great for a quick boost/cut in broad strokes! Ditto on the limiter as a separate plug as well. I might suggest, if possible, to have whatever settings either of these two have in the channel strip plug-in to flow into the separates if inserted on the same track. Sometimes I found myself building a sound and end up bypassing the equalizer section so inserting only the limiter makes sense. The settings of the EQ and Limiter saved as presets in the channels strip do not work in the separate plug-ins.