Kotelnikov GE – mastering

Here is my go-to mastering preset for Kotelnikov GE. Just change the threshold and you are there.

<TDRKotelnikovGE thresholdParam=”-24.0″ peakCrestParam=”-3.0″ softKneeParam=”6.0″ ratioParam=”3.0″ attackParam=”6.0″ releasePeakParam=”20″ releaseRMSParam=”300″ makeUpParam=”0.0″ dryMixParam=”off” outGainParam=”0.0″ keyHPFrequencyParam=”60″ keyHPSlopeParam=”6.0″ keyStereoDiffParam=”80″ keyStereoBalanceParam=”Center” fdrVisibleParam=”On” fdrActiveParam=”On” fdrTypeParam=”Shelf A” fdrFrequencyParam=”50″ fdrAmountParam=”80″ yingParam=”On” yangParam=”Off” deltaParam=”Off” bypassParam=”Off” equalLoudParam=”Off” qualityParam=”Insane” modeParam=”Stereo” grDispScaleParam=”4″ grDispModeParam=”Gain Reduction”/>

mastering a track using only FREE Plugins

Featuring BaxterEQ and FerricTDS.

(via)

compressor aficionados (4) – Bob Olhsson

Bob, you are a professional recording and mastering engineer for over thirty years and already legend. What is more important: The ability to hear or the ability to use the right device according to the context and to apply the right adjustment?

You need to BOTH be able to hear AND find the right device and settings! Probably the most important thing to understand is that just raising the volume a tenth of a dB. will always sound better. All comparisons must be checked with the average level compensated. Otherwise, it’s easy to wind up with something that’s louder but far worse sounding.

Another challenge is mastering for what the recording needs and not what your monitors want. Our goal is for it to sound great everywhere. The best way I’ve found to tackle this problem is sticking to broad strokes unless I’m removing distractions. If a half dB. sounds different but not better, I’ll generally leave it alone. [Read more…]

working ITB at higher sampling rates

Recently, I’ve moved from 44.1kHz up to 96kHz sampling rate for my current production. I would have loved to do this step earlier but it wasn’t possible with the older DAW generation in my case. With the newer stuff I was easily able to run a 44.1kHz based production with tons of headroom (resource wise – talking about CPU plus memory and disk space) and so I switched to 96kHz SR and still there is some room left.

I know there is a lot of confusion and misinformation floating around about this topic and so this small article is about to give some theoretical insights from a developer perspective as well as some hands-on tips for all those who are considering at what SR actually to work at. The title already suggests working ITB (In The Box) and I’ll exclude SR topics related to recording, AD/DA converters or other external digital devices. [Read more…]

a Density mkIII review

Christopher A. Dorval Dion kindly gave me permission to re-blog his review he made for Quantum-Music.ca:

Variety of Sound – Density MKIII (Review)

[Read more…]

major mkIII update for Density bus compressor released

[Read more…]

announcing Density mkIII – providing depth and dimension, mastering grade

As hinted earlier in a facebook post, the TesslaPRO update will be delayed and probably released after the summer break – it is just not there yet. Instead, a major update for the Density compressor plug-in already made it and it will going to see the light somewhere later this month.

So, lets talk about the Density mkIII update. During the last two years or so I’ve received quite a lot of feedback to the Density mkII release – mostly coming from mastering engineers – on how to improve its dynamic response towards todays mastering needs. Some very early efforts did not made it but with the learnings from the ThrillseekerLA compressor design and the emerging stateful saturation approach everything was possible, all of a sudden. [Read more…]

ThrillseekerLA – released today

[Read more…]

introducing ThrillseekerLA

ThrillseekerLA – digital stereo leveling amplifier with truly analog qualities.

At a glance

  • Sophisticated and deep gain riding full of musical character and attitude but with virtually no inter-modulation (IM) distortion artifacts
  • Feedback compression design w/o any samplerate based delay in the loop
  • Classic input level driven two knob design with additional manual attack and release time interventions
  • Highly program dependent envelope timing adoption offering attack times ranging from “instantaneously” up to around 100ms and release times from 30ms up to several seconds
  • Mix level switch to adopt the plug-ins internal gain staging to mixing levels at around -18dBFS
  • Custom SC filter option to attenuate the SC bass response while slightly boosting the HF spectrum
  • Additional one pole (6dB per octave) SC low-cut filter adjustable from 20 to 500Hz
  • External sidechain support
  • Switchable Input/GR/Output metering display
  • Variable compression range control from 0 to 100% [Read more…]

announcing the “Thrillseeker” audio plug-in series

I’m bringing sexy back

The brand new and upcoming Variety of Sound Thrillseeker audio plug-ins series is going to be a plug-in collection premiering Stateful Saturation which is a sophisticated DSP core system for musical harmonic distortion generation based on authentic and truly stateful non-linear models.

Stateful Saturation takes advantage of some sought after analog qualities and preserves them accurately during their transfer right into the digital domain:

  • high frequency shimmer and sheen without digital harshness
  • depth and ‘3d’ imaging side effects before distortion itself becomes apparent
  • audio transient dynamics that remains vibrant and alive
  • natural and impressive bass response

Stateful Saturation opens the door for quite a number of amazing applications ranging from smooth harmonic exciters up to convincing amplifier effects and the DSP core can easily be set in context whether it’s a compressor output stage or a preamplifier circuit, just to name the two. [Read more…]