#Brainworx digital v2 tutorial professional
Mastering for allīx_masterdesk is a hugely impressive ‘instant mastering’ solution that any musician or producer without the funds to hire a professional mastering engineer, or the knowledge and experience to handle a regular component-based mastering chain, will find an absolute godsend for finalising. Finally, at the very end of the signal path sits a brickwall limiter, with the associated Turbo button providing an optional extra 1dB boost for heavier masters. The latter is one of our favourite features - wonderfully effective at gently hyping the panorama - and we look forward to seeing it again in future bx plugins. In the M/S section, the Mono Maker knob ‘mono-ises’ everything below anywhere from 20-300Hz, and Stereo Enhance uses a proprietary new Brainworx algorithm to boost or attenuate ‘musical’ material in the stereo sides signal. Discernment as to whether or not these frequencies need zapping is aided by the Auto Solo button, which facilitates isolation of each by click-holding. Here, fixed-gain cuts are applied to two of four potentially problematic resonant frequency ranges - 160Hz or 315Hz, and 3150Hz or 6666 Hz - using the Low and High switches. Further taming of undesirable signals can be done in the Resonance Filters section. This, too, is collared with a gain reduction meter, and includes a Solo button for isolating the signal being attenuated.
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The De-esser, meanwhile, is great for reducing harshness and sibilance.
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The effect that this has is often so subtle as to be literally inaudible, but it can be useful for working in a touch of brightness and drive, depending on the mix. These variations largely affect the frequency response and time constants, and although the differences are incredibly slight (we’re talking analogue realism here, not sonically disparate ‘modes’), the four models are certainly always worth flicking through to see which works best for your track.Īnother interesting feature is the ability to adjust the Total Harmonic Distortion (THD) up or down from its default setting of -60dB by up to 20dB either way. It’s not entirely single- minded, though, as Brainworx have employed their TMT (Tolerance Modelling Technology) process to effectively supply four different versions of the same compressor by modelling the variations in physical tolerances that you’d inevitably get with a quartet of identical hardware compressors. All of that good stuff is done for you, serving up a suitably gentle compression profile that just feels ‘right’. The collar around the Comp Mix knob meters the gain reduction for the left and right channels separately – activate the Comp Link button to have both channels compress evenly, should you ever need them to.īx_masterdesk’s all-important compressor is entirely preset behind the scenes, with no user-facing controls for adjusting the ratio, attack, release or knee shape. Once again, the options available are deliberately narrowed - from 85-100% wet, or Off - so as to keep everything mastering-appropriate, and it’s handy for reintroducing a bit of dynamic range. The Comp Mix knob dials the dry signal back in alongside its compressed counterpart for parallel processing, or bypasses the compression altogether.
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However, there are a few other tweaks that can be made if required. The dynamics-shaping processes going on within bx_masterdesk are set up and calibrated so that you should rarely need to reach beyond the Volume, Foundation and Tone controls to get your master sounding loud and consistent.
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The coverage is very much as expected, though, with quite a bit of crossover between bands for ‘musical’ EQing. In the interest of keeping the interface as unintimidating and ‘muso-friendly’ as possible, the EQ looks like a guitar amp tone stack, and the centre/corner frequencies of each band aren’t specified. This enables up to 3dB of cut or boost to be applied to Bass and Treble bands, and a broad mid-range bell filter and up to 6dB of cut/ boost (with a contrary boost/cut in the high- mids) to the high-frequency Presence band. Next comes the Tone section, home to a four- band EQ.