Mastering engineers often don’t trust your mixing is why. Attack time is .03 mS in order to reduce the first half of a 20 kHz waveform over the threshold, with Serial Adaptive Release. Now whatever amount of Depth or Width is introduced is first routed to the compressors, allowing the user to utilize the compressor features on the Mid and Side information. The MBP’s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. GAIN range provided is from 0dB to +20 dB. Used in conjunction, the depth and width controls effectively alter the perceived room ambience and dimension. To further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. Output level meter covers the range from -10 to +22 dBu and above which is regarded as overload. 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. What's your favorite master bus compressors? Rupert Neve Designs, LLC was founded by Mr. Rupert Neve on passion, experience and a desire to craft timeless musical tools for the 21st century. 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. When disengaged, it follows RMS alone. Holding down the ‘Shift’ key whilst operating a parameter allows fine adjustments to be made. 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. 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. The MSI Stereo Buss Compressor can be used on the Master Buss and also on sub-groups (Drum Groups etc). Range of RELEASE time is 100 mS to 2.5 Seconds. Musically transparent brick-wall limiting activated when the signal reaches the limiter threshold. 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). Based around the high voltage, discrete and class-A signal paths made famous in the 5088 Mixer and the Portico II Channel, the Portico II Master Buss Processor is a creative tool that redefines the boundaries and limitations of traditional 2-channel compression and limiting. When the LINK switch is engaged, channel A becomes the master control, and any gain reduction happens simultaneously in both channels. The stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters. It is also possible to do the same thing with the Width EQ, except instead of boosting the width, cutting it, which removes low frequencies from the Sides, tightening up the low frequency perception in the center. It is used to give a sense of "glue and punch" to the mix, creating a sense of cohesion between the various tracks. This allows the compressor to disregard sustained low frequency content. The only master bus compressor that I have is the one from IK Multimedia (besides the stock one from Cubase 7). Why? Though originally developed for mastering applications, the MBP has quickly become a favorite of mix engineers, tracking engineers, and even FOH engineers. MSI Stereo Buss Compressor is a free compressor VST plugin developed by Studio Toolz. Buss compressors are often used on signal that display a variation of frequencies and transients such as drum kits and backing vocals. He always asked me to pull the master buss compressor off the mix. Fairchild 660/670. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. Thank you Mr. Neve for paving the way to a brighter, smarter future and for conceiving this most ultimate of audio witchery.”, “The MBP is a remarkable piece of analog hardware. And in general, the more processing you send a mix through, the smaller it will sound. Four Peak LED METERS are provided that show stereo output levels and gain reduction. Are there reasons that you can give as to why the mastering engineer would want that? (These two operations work on all MSI plugins). Two examples are the SSL G-Master Buss Compressor and the API 2500 Compressor. Holding down ‘CTRL’ and clicking on a parameter reverts it to its default position. Your Gain Staging Is Incorrect. Subtlety is key. Personally I've found great results from: Vulf Compressor El Rey (have to be careful for bass bump) Ozone 8 Vintage Compressor Logic Compressor (Vintage VCA setting) Additionally, the MBP incorporates mastering-grade detented pots throughout to fine-tune its revolutionary dynamics, tone, and stereo field controls. 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. As a hardware piece this is a rare bird—working vintage units, if you can find one, … If it helps, the genres I record are mainly different variations of rock. 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). @ 1kHz, +20 dBu output: Better than 0.006%@ 20Hz, +20 dBu output: Better than 0.20%, Threshold: Variable from -30dBu to +20dBuRatio: Variable from 1.1:1 to 40:1 (LIMIT)Blend: Variable from 0% to 100% CompressorGain: Variable from -6 dB to +20 dBAttack: Variable from 20 mS to 75 mS (0.1mS with “FAST”)Release: Variable from 100mS to 2.2 Seconds, 5mm x 20mm, 2.5 Amp, fast acting, ceramic body – Bussman type GDA 2.5A or equivalent. Compressors designed to cope with mixes are often called buss compressors since they are usually inserted across a stereo buss, as opposed to a single channel. Typically there is a tradeoff between how fast a limiter can react and the amount of modulation distortion in the lower frequencies. Both the limiter and soft clipper are switched out of circuit with the knob is fully clockwise. David on December 21, 2016 at 9:00 pm . Reply. It really does something other compressors can’t or don’t do that are currently on the market. I bought it for that use, but I found myself using the piece much more than expected.” Mix bus compression is the act of mixing through a compressor on the master output, although the term is commonly used today also to refer to sub-mixing sets of instruments on an auxiliary bus as well, such as drums. Most of the time, we share our discount coupons to our Newsletter Subscribers only. This combination of features provides exceptionally transparent limiting, and often allows twice as much gain reduction compared to other limiters before objectionable artifacts become apparent. 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. “Blend” creates a parallel mix between the compressed and dry signals. In many cases, these same elements may be virtually eliminated without adversely affecting the music bed. Could you guys give me some compressor plugin recommendations? Try grouping all elements of you drums together into one group. Another technique available on the SFE is routing the Mid and Side signals to the Channel A and Channel B compressors, respectively. Hardwire bypass for MBP, including the input and output transformers, Continuously variable control for Silk and Silk+ modes allows the engineer to fine tune the harmonic ratio and tonality of each channel, Changes the VCA Detection from a forward feed design (fast, more accurate attack & release) to a feed back design (smoother, more musical response). 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