You also get a choice between feed-forward and feedback compression paths, and the ability to feed a variable proportion of the dry signal back into the compressed signal at the output, either to help to restore transients or to enable those parallel or upward modes of compression which enjoyed some vogue a few years ago (but which I have to admit to not ever using much myself). There’s comprehensive control over the extent to which the stereo channels are linked, and the option to run it in Mid/Sides instead of left/right mode. But in addition to these it also boasts not just one, but two Knee controls, plus a very effective Auto Attack/Release setting, a side-chain filter which can be set to either high-pass, band-pass or low-pass, and a ‘harmonic enhancement’ feature for warming up slightly edgy material. The Sonoris Mastering Compressor has all of the standard features you would expect in a digital compressor, namely finely controllable Ratio, Threshold and Attack and Release parameters. (All major plug-in formats are supported on Mac OS and Windows.) The Bee’s Knees It is, as a consequence, relatively sparse, with very few bells and almost no whistles at all. In effect, this allows the user to limit the amount of gain reduction that is applied.Like Sonoris’s Mastering EQ (reviewed in SOS March 2013: then, the company’s new Mastering Compressor plug-in has been designed by Peter Stenekes to be, above all, clean-sounding. The Sonoris Mastering Compressor is unusual in featuring dual knee controls. In the widest terms, however, ‘mastering grade’ is most often used to refer to processors which are clean, and which change the sound only in ways the engineer can completely control - perhaps by offering a particularly fine set of parameter increments and/or switched rather than continuous controls, for easy recall. There is a relatively small range of equipment, both digital and analogue, which by common consent is ‘for mastering’, but there are also certain pieces which are less generally useful in mastering, but which individual engineers swear by for particular projects. Most of my mastering colleagues have a foot in both camps. At one end of this spectrum are the elitists, who admit only a shortlist of canonical equipment to the category at the other are the pragmatists, who say “if it can be used for successful mastering, it is mastering-grade”. There is a wide range of opinion, some of it informed, as to what kind of equipment the term applies to - though there is also some question as to whether or not the name actually makes any sense and properly applies to anything at all. The term ‘mastering grade’ is often banded around in Internet discussions. Sonoris’s mastering-oriented plug-in is designed to make dynamic control as unobtrusive as possible.
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