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. 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. Bass Shift boosts at 63 Hz and, at the same time, cuts at 315 Hz. 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. 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. I work at 48K which is still the video standard for audio postproduction, so I'll guess that's why.
Use them, for example, to boost your mix's low-bass punch while simultaneously clearing out muddy upper-bass and low-midrange frequencies. 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. 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. Therefore, they sound different and in my opinion way better 44. A gain-reduction meter shows its operation. 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. 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.
All this power comes in two workspaces—separate component plugins for mixing and mastering—to help you work faster. The Activation Manual has been installed into the same folder as this Plugin Manual. Set the Speed switch to Fast to nip speedy sibilance in the bud or Slow to tame boomy bass frequencies without pumping. In other words, you can listen to only the 'M' or 'S' component of your mix, and work on these two signals independently. For external dynamic processing, an insert path for the mid and side channels would make a good update. I liked it on Fender Rhodes, sample stereo strings, a Hammond organ and any stereo effect like reverb, phasing, choruses and flanging.
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. This Plugin does not have a certain Sound, but it does everything u want it to do. 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. Wow, I was ripped off. Recording vocals, including all ambience information, on just two tracks is a tremendous mixing option.
Alternatively, please check the online version, see link above. Why is that so unusual? 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. 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. Same with the elysia Alpha compressor. These are 'single knob' controls that boost preset frequencies whilst cutting an adjacent band. All this power comes in two workspaces—separate component plugins for mixing and mastering—to help you work faster. However, this is offset by the excellent control surface support.
Also, the tracks are mono-compatible; in mono, all you hear is the mid-channel. 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. Auto-solo makes touching any control solo that section's channel. This feature works with touch-sensitive control surfaces such as the Icon and the Command 8 too. 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. You can dial in as much ambience as you like, and if you compress the side channel, then the ambience becomes more present.
People ask for that vintage 16bit vintage plug-in never. De-Esser is a 2-channel dynamic equalizer with an adjustable frequency range of 4. V3's new Proportional Q filters are another huge plus. Or increase presence to spotlight guitars and vocals, while softening searing cymbals. 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. But what´s so new about V2 then? You can also tame the high frequencies of a vocal performance automated, only when a singer hits the top of their range. If you raise the level of the side component, then the ambience of your recording space dramatically increases.
This makes it so easy to dial in the exact frequency you want to cut or boost, because you can hear it clearly, without the sonic clutter around it. As stereo mixes sound very different when channels are swapped this can be a creative 7. The Mono-Maker control sums your low-frequency content to mono, giving you focused, punchy bass response. It's eminently pristine, using ultra-transparent filters that minimize phase shift and frequency masking to deliver clearer and more focused mixes and masters. Same with the elysia Alpha compressor.
I find adjusting knobs with a mouse from the screen to be a counter-intuitive process. The unique Bass and Presence Shifters have been made much more versatile, each now offering a selection of three different tilt filters that balance and unmask hidden details in your mixes. Therefore, they sound different and in my opinion way better 44. Activate the Auto-Solo and Auto-Listen switches to add touch-sensitive functionality to Gain, Q and Frequency controls in all bands. With my singer or any source , moving left and right and even behind the mic is audible.
The best thing about the Digital V3 is the ability to solo a band then sweep it, but only hear the frequencies you are sweeping. Just place the width for certain instruments, i. Barry Rudolph is an L. . 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. Besides adding air with the Presence Shift, I could widen the stereo image out somewhat, knowing that the compromise is a receded center image. Good Job again Brainworx and thnx again for making Mastering a Piece of Cake! Great eq - wish I would of waited to buy it.