Another technique available on the SFE is routing the Mid and Side signals to the Channel A and Channel B compressors, respectively. Maximum output from 20 Hz to 40 kHz is +24.5 dBu. The “return” may also be used as a “Key” input for ducking one signal to another (for instance, a voice-over keying the compressor to duck a background music track). Prized by top engineers for its ability to “glue together” tracks, the SL 4000 G master buss center compressor is ideal for taming piano dynamics or adding punch to drums and percussion. This plugin is perfect for those producers looking to … Mastering engineers often don’t trust your mixing is why. The new limiter found in the MBP is designed to respond as fast as .03 mS in order to reduce the first half of a 20 kHz waveform over the threshold. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. FET compressor designs are less commonly used over the master bus, but the aggressive character of devices like the Universal Audio 2–1176 can be ideal for some mixes. Perfect for tightening up final mixes The G-Series Bus Compressor is a VCA-based stereo unit from the UK’s Oxfordshire-based Solid State Logic, derived from the circuits found in their legendary 4000 G-series console.The SSL excels at one thing only: stylish-as-hell bus compression, either on sub-mixes or the master bus itself. For example, if one wanted to increase the amount of low frequencies in the center image, engaging the SFE Depth and Depth EQ, set to LF, would filter out everything in the Mid signal except what is below the filter point (in this case, 250 Hz), and once reintroduced to the original would result in a perceived increase in the low frequencies in the center image. In this manner, the MBP’s limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast-acting limiter. ”, Master Buss Processor: Mastering Compressor / Limiter / SFE, “5/5 sound quality & features: I think this device will have to be pried from my cold dead hands before I will ever go another session without its use. This is due to the lower frequencies finding their way into the side chain signal, triggering the compressor on and off very quickly, which ends up modulating the overall signal. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother, more musical vintage response (feed-back). When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother, more musical vintage response (feed-back). With the addition of using the EQ section on the Depth and Width, a wide range of tools is available to the engineer. The compressor and limiter in concert provide clean, transparent, musical and precise dynamics control along with lots of other features that let you change the sound more drastically when necessary.”, “ “The MBP has new colors, new wrinkles on old themes, and so far I haven’t put anything through it that didn’t sound better!””, “”It initially caught my attention because of the limiter section. The Portico II Master Buss Processor also features an extremely versatile, transparent and musical limiter. Are there reasons that you can give as to why the mastering engineer would want that? This new topology is a significant evolution of Mr Rupert Neve’s classic designs with appreciable benefits to headroom, dynamic range, distortion, noise, slew rate, bandwidth, and accuracy while still providing the sweet, musical performance that has been a part of countless recordings. As the knob is turned counter-clock-wise, the release time is increased accordingly, as typically one would want a longer release time with a larger amount of reduction. Because the amount of effect the width control has is entirely dependent on the amount of stereo information in the original source material and the interplay between the stereo field editor′s other controls, listening and experimentation are essential for the best results. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements. Analogue Modelled Buss Compressor. With input and output transformers designed and implemented by Mr. Rupert Neve, the high-voltage 72V topology found in the Master Buss Processor will integrate flawlessly with virtually any system. Save my name, email, and website in this browser for the next time I comment. Now it is possible to not only increase the side information, but to utilize the compressor to bring up some of the low level side information, or allow the user to tame an overly expressive lead singer. When disengaged, it follows RMS alone. David on December 21, 2016 at 9:00 pm . Master bus compression - quite simply, the use of a compressor on the master or mix bus - can make a profound difference to the overall sonic quality of a mix, binding its individual components together into a cohesive, professional-sounding whole. Try grouping all elements of you drums together into one group. 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