Professional Analog Mastering.
Professional Analog Mastering.
230K+ subscribers
All audio compression is non-linear. Once the threshold is crossed, the output no longer has a linear relationship to the input.
A 3:1 ratio means the output’s dB is 1/3 the input once the threshold is crossed.
But what about the range above the threshold? A soft knee is the only option for almost all plugins if you want some variance in the output post-threshold.
Presswerk by U-he offers something different.
The non-linear function allows the user to reshape the output post-threshold - meaning we can essentially include multiple thresholds with multiple ratios and varying knees.
For example, if I use a hard knee setting with a high ratio, and make the non-linear function negative, I can create gradual soft-knee compression, followed by expansion, followed by hard-knee compression
Or if I use a soft knee and a positive value for the non-linear function, I can completely change the value of the peaks relative to the RMS or average loudness.
From there, I can experiment with the ratio, threshold, knee, and non-linear settings to create incredibly unique compression that simply isn’t possible with almost every other compressor plugin.
This plugin offers other unique functions like duel phase rotation which acts like a dynamic eq band on the low frequencies. Or a unique combination of feedback and feedforward detection.
However, the non-linear function is by far the most useful, especially if you want to emulate the unique behavior of analog gear, or just create a distinct sound while compressing.
Let’s listen to a typical compressor and compare it to this Presswerk plugin while varying the non-linear function.
Notice how much the sound can vary.
Watch the video to learn more >
With most equalizers, if you want any modulation you’d need to automate the effect or use a dynamic filter that only modulates the amplitude in a very predictable way.
However one EQ has incorporated multiple forms of modulation and allows the user to attach a modulator to just about any parameter.
Shade by UVI is perhaps the most flexible EQ out there, but hardly anyone uses it.
It’s easier to show its effect than describe it, so let’s look at an example.
Say I create a typical bell filter - right now it’s static, it doesn’t change; it will always amplify the frequency range I set it to and by the amount I set it to.
But, let’s add a modulator - say I add the random option and link it to the center frequency.
Now, the center frequency is randomized, as the bell filter moves around the frequency spectrum.
For a more practical effect, I could reduce the rate and depth. If I want mild fluctuation between the left and right channels I could enable the stereo effect.
By hovering over the relevant parameter I can adjust the range. So say I only want the frequency to fluctuate by 20Hz. I could adjust the range until that’s controlled exactly how I want.
The same goes for the filter’s amplitude, slope, and width.
Now, you might wonder why you’d want to do this.
In short, a lot of expensive plugins add mild modulation to make the sound more complex. The subtle shifting of a filter’s frequency or amplitude can go a long way in making the sound more interesting to both engineers and listeners.
So whether you’re interested in introducing creative effects, or in making very subtle shifts to add some complexity to your mixes and masters, this plugin, Shade, offers this incredibly rare feature.
Now I only covered the randomize function, but as you can see there are 9 other filters you can experiment with.
For now, let’s compare some static filters introduced with the Pro Q3 to the same filters but with mild modulation.
Notice how the modulation creates a more interesting and complex sound.
Watch the video to learn more >
Compression distorts a signal. By changing the peaks, the waves are shaped, resulting in harmonics.It’s not a bad thing, but sometimes you want to compress a signal while altering the original timbre as little as possible.
A while back, I spent a lot of time looking for the cleanest compressor - the one that adds as little distortion as possible, and I believe I found it.
Compressor v4 has one algorithm that, no matter what I compare it to, remains the cleanest compression possible.
Even when I’m attenuating a signal by 20dB or more, harmonics are kept to a minimum. Even with lookahead off, harmonics aren’t audible.
The reason this compressor can achieve this is by using a unique form of FFT processing called the Hilbert transform in which phase rotation allows for more accurate amplitude measurement.
By measuring the input more accurately, it can be attenuated more accurately, without the need for waveshaping peaks, or a least as little waveshaping as possible.
So, if you want clean compression, try the punch algorithm of this compressor. The plugin can be downloaded and used for free without limitations.
So, let’s compare this compressor to a stock compressor. Notice how much cleaner the signal sounds post-compression when I use the punch algorithm from Compressor v4.
Again, distortion isn’t a bad thing, the stock plugin may sound better for this instance, but keep in mind I’m showing which one changes the timbre less.
Watch the video to learn more >
Temporal masking, and attempting to control it, is a big part of recording, mixing, and mastering.
When a loud sound occurs, like a transient, it often masks or covers what comes after it.
The most common way to combat this is by attenuating the loud sound.
For example, we compress and then amplify a snare to reduce the peak and then bring up quieter details. Or we saturate to square the peak and create harmonics that amplify quieter aspects of the signal. Both of which require reducing the peak before making any change.
But rarely, if ever, does a processor measure the frequencies that would mask a signal and then amplifies the masked signal as a response.
That’s what makes the Recover function of the Gullfoss EQ unique.
Whereas a similar processor, like Soothe 2 will attenuate peaks and subsequently alter the behavior of transients, Gullfoss can be used to amplify the ranges that would be masked if kept at a lower amplitude.
So, let’s listen to a drum stem with its peaks compressed and quieter details amplified to reduce masking. Then, we’ll listen to the Recover function of the Gullfoss EQ. Notice how masking is reduced in both, but that the Gullfoss EQ alters transients less than the compressor.
Watch the video to learn more >
I debated including this one since it’s so strange.
Also, it kept crashing Plugin Doctor when trying to test it.
But Sweet Spot by Pulsar Modular has a one-of-a-kind feature called Tremor.
It’s not too complex but it doesn’t really exist anywhere else.
In short, it’s a bell filter that amplifies 7.83Hz. Why? Because that’s the resonance of the Earth rotating on its axis.
Why would you want to include that frequency? I’m not sure - but at the very least its frequency can vary, giving you a lot of control over the sub frequencies of your mix.
For example, if you’re working on a dance track, and you want to amplify the sub but tune it to the sub-octave of the kick, you can find that. Other plugins will cut you off at 20Hz, maybe 10Hz, but if you want that level of control, this plugin makes it possible.
Let’s listen to the Tremor effect. You’ll need some headphones to hear it, but let me know in the comments if you think this feature does anything worthwhile.