The elysia mPressor's difference, for example, was immediately noticeable to me for some reason; it sounded more 3 dimensional and less harsh than the native version. It was a must-have for me. It's eminently pristine, using ultra-transparent filters that minimize phase shift and frequency masking to deliver clearer and more focused mixes and masters. Set the Speed switch to Fast to nip speedy sibilance in the bud or Slow to tame boomy bass frequencies without pumping. With a range of ±12 dB, Bass Shift can fatten the bottom end with less upper-bass puffiness or enlarge the low midrange without booming out the low bass. Boost bass frequencies on male vocals to accentuate the singer's powerful chest register—without muddying the lower midrange. If you raise the level of the side component, then the ambience of your recording space dramatically increases.
Wow, I was ripped off. It certainly wouldn't fit on any screen smaller than 1152 x 870 pixels. Throwing money away aside, the plug in itself sounds and functions great. Bass Shift boosts at 63 Hz and, at the same time, cuts at 315 Hz. It can be used as a stereo recording technique by setting up a forward-facing mono cardioid mic and a side-facing figure-of-eight mic. There are individual Link buttons all over the plug-in that you can choose to use where appropriate.
My findings were that they sounded slightly different in nearly every instance I tried, and some were more noticeable than others. It works on all the approved surfaces, even the lowly Command 8, so you can adjust the settings using real knobs on your preferred controller while reviewing the changes with your ears and eyes. Yes, same exact plugs, same presets, and then tweaking each one to the same settings. Therefore, they sound different and in my opinion way better 44. The Bass and Presence Shifters produce opposing boosts and cuts in adjacent bands to prevent excess spectral energy buildup that can make mixes sound boomy, blurry or edgy. This Plugin does not have a certain Sound, but it does everything u want it to do. V3's transparent high pass and low pass filters now provide alternate slopes to sculpt your tracks' high and low end and selectively weed out rumble and hiss with greater precision.
But you can also use it to automatically attenuate bass frequencies on an acoustic guitar track only when the guitar gets boomy, leaving it unprocessed at all other times. To make sure that the matrixed 'S' channel only contains the difference signal, you need to make sure the left and right input gains are set correctly. I work at 48K which is still the video standard for audio postproduction, so I'll guess that's why. This feature works with touch-sensitive control surfaces such as the Icon and the Command 8 too. De-Esser is a 2-channel dynamic equalizer with an adjustable frequency range of 4. This is a nice way to avoid bypassing the Auto Listen Mode for center frequencies in audio material that is hard to judge Tom Toms, Vocals, small changes that you prefer to do without this mode.
The mono-maker is great for tightening up the low end to make the bass foundation rock solid. It's eminently pristine, using ultra-transparent filters that minimize phase shift and frequency masking to deliver clearer and more focused mixes and masters. I liked it on Fender Rhodes, sample stereo strings, a Hammond organ and any stereo effect like reverb, phasing, choruses and flanging. Having separate control over the 'M' and 'S' output levels is very useful, especially for adjusting overall stereo width by increasing the 'S' channel gain, because this is a completely mono-compatible way of broadening the stereo image. Activate the Auto-Solo and Auto-Listen switches to add touch-sensitive functionality to Gain, Q and Frequency controls in all bands. This was especially noticeable in the lower midrange and midrange. Advanced imaging controls let you independently pan your mix's mid and side channels, widen the stereo image, swap left and right channels and center the phantom stereo image.
Activate the Auto-Solo and Auto-Listen switches to add touch-sensitive functionality to Gain, Q and Frequency controls in all bands. Recording vocals, including all ambience information, on just two tracks is a tremendous mixing option. Finally, Mono-Maker forces all frequencies, adjustable from 20 Hz up to 400 Hz, from stereo into mono. Conversely, if you are presented with a mix that has a splashy reverb, you could use the de-esser on the 'S' channel to contain that without killing the brightness in the vocal on the 'M' channel. Both channel equalizers are set the same when you adjust only one channel's controls. However, it does need to be a helpful tool, and Brainworx have achieved that, in my view, with the exception of the graphical interface offering knobs. Presence Shift boosts at 12 kHz and, at the same time, cuts at 6 kHz.
And of course, I will concede that there's a good chance I'm crazy, but I've been at this for 25 years and I don't think that's necessarily the case. Good Job again Brainworx and thnx again for making Mastering a Piece of Cake! The control-surface implementation includes what I believe to be a unique feature. Everything else is blurred, in a similar way to how you can look through a magnifying glass at something but tune out everything on the periphery, and what you see directly in front is in sharp focus. In any case, I really appreciate both the info and knowing that I'm not completely crazy. Or use it to boost bass drums in complex signals. Brainworx are a German company who started out making hardware mastering processors.
You can dial in as much ambience as you like, and if you compress the side channel, then the ambience becomes more present. Just place the width for certain instruments, i. Same with the elysia Alpha compressor. You'll work faster: a mouse click and single knob twist are all it takes! Monitors are Event Opals, the room is good sounding in the first place, and then properly treated with a full set of RealTrap bass traps and side wall absorbers, and mixes translate well to all the post production houses I work with, so I think monitoring is pretty accurate. These are 'single knob' controls that boost preset frequencies whilst cutting an adjacent band. A Mono Maker control allows you to take low-frequency content out of the 'S' channel, turn it into mono and put it into the 'M' channel, to maintain the overall bass level while narrowing the stereo field in this region of the spectrum only. Separate frequency-response graphs for each channel constantly update to illustrate the results of your tweaks.
I liked the Auto Solo Mode to start with, as I could instantly hear what effects any adjustments had on their respective channels, but found that once I was in the right ball park I tended to turn it off, as I wanted to hear the overall results, especially of adjustments on the 'S' channel, as any change there will always affect the stereo image. Auto-solo makes touching any control solo that section's channel. With Auto Listen, the Gain and Q controls will automatically solo the respective changes they apply to each band, while doing the same to a Frequency control will automatically solo the filter in the channel. Inconclusive though I'd like to try more material. Besides adding air with the Presence Shift, I could widen the stereo image out somewhat, knowing that the compromise is a receded center image.
I use it on every mix that I touch. The Activation Manual has been installed into the same folder as this Plugin Manual. These filters progressively adapt the Q as you increase or decrease gain, focusing your boosts and cuts exactly where they're needed and without suffering tradeoffs in neighboring bands. Well, although the 'S' signal is included in a normal stereo signal, it is not in-phase on both channels, so normally, if you solo the 'S' signal, you will hear the in-phase version in one speaker and the out-of-phase version in the other, which makes it very hard to judge what is going on in that channel. This feature is designed to assist in vinyl mastering, where large amounts of stereo low-frequency content are very difficult to cut. The cardioid 'middle' mic is then sent to both channels in equal amounts, while the figure-of-eight or 'side' mic is also routed at equal levels to each channel, but with its polarity reversed in the right-hand channel.