Dmg Audio Track Range Mac OS And#

Plus MS Panning, time compensation and more. All the utilities from the top and bottom of a console channel. TrackControl offers easy channel control. DMG Audio has launched 5 plugins in a new Track range of professional mixing plugins for Windows.

&0183 &32 There are times when the sheer range of options available in Compassion or Equilibrium can feel overwhelming, but thatвЂ™s not the case here. Whatever type of processing is on offer, you can be pretty sure that a DMG implementation of it will cover every conceivable use case, and plenty of use cases you can't conceive of.2021. Products released under his DMG Audio banner typically sport large numbers of features, large numbers of user-adjustable parameters and large collections of presets. In fact, you could say he does things by whole numbers, and large ones at that. All the utilities from the top and bottom of a console channel.Dave Gamble is not a plug-in developer who does things by halves.

Dmg Audio Track Range Mac OS And

The largest area is given over to a graphical display, which overlays a representation of each band's frequency range and activity against an animated spectrogram of the input signal. The basic user interface is businesslike and, considering the amount of power it conceals, relatively unthreatening. (As far as I know it doesn't spy on you or collect data about your shopping habits, either.) Eight By ThreeMultiplicity is available in all the usual native formats for Mac OS and Windows, and is authorised using a downloadable licence key. To describe it as a multiband compressor would be like calling Amazon's Alexa a music player: Multiplicity can do multiband compression, but it can also perform dynamic equalisation, upwards and downwards expansion, transient shaping, de-essing and much more. Multiplicity is designed to tackle any and every situation where dynamics processing needs to be triggered by, or applied to, just part of the frequency spectrum.

To put it another way, the bands in the Xover section divvy up the entire frequency spectrum for potential processing, while the Pre and Post sections allow you to target individual problem areas and leave the rest of the signal untouched. In essence, you can think of the Xover stage as a more-or-less conventional multiband compressor, with the Pre and Post stages applying dynamic equalisation either side of this. The lower part of the interface, meanwhile, displays specific controls for the selected band.Each instance of Multiplicity can host up to eight processing bands, and these are divided between three stages of processing, labelled Pre, Xover and Post.

Naturally, each band has all the standard dynamics parameters such as attack and release times, threshold, ratio and a fully variable knee control but that's not even the half of it.Each Multiplicity band allows dynamics processing to be applied conventionally to signals exceeding the threshold, but also offers independent compression or expansion of low-level signals. Multiplication TablesSo many parameters are available on a per-band basis that although the lower section of the window is generous in size, it still doesn't offer enough room to view them all simultaneously, and some are thus concealed within the optional Sidechain and Advanced tabs. Xover bands, by contrast, are defined by the settings of the crossovers between them, which are established by dragging coloured blobs around in the main graphical display. Each Pre and Post band has a full set of EQ parameters including Q (bandwidth factor), slope and filter type, which act independently of other bands.

Instead, there are separate Fast and RMS release times. For one thing, the Dyn algorithm doesn't just have a single release time control. Please Release Me, Fast Or SlowYou might think we'd be reaching the half of it by now, but not so. Lookahead is also adjustable per band, and, like the Attack parameter, affects the relationship between the two processing stages.

The side-chain source can be either the full-bandwidth input signal, an external source, or the filtered signal feeding the selected band Xover bands can also select each other's filtered signals as side-chain sources, and whichever source you choose, a further three-band EQ lets you shape it to your satisfaction. Gain change can be applied either on an M-S or an L-R basis, and can be applied equally to both channels, or weighted progressively towards one using a control analogous to the Dyn/Tran parameter described above.Multiplicity's side-chain processing options are typically exhaustive!Oh, and of course, where there's a dynamics processor, there's a side-chain and, naturally, side-chains in Multiplicity can be sculpted to within an inch of their lives. The stereo behaviour of each band is also very freely configurable. The shape in question is that of the attack and release curves, and determines whether gain change during the attack and release phases is scaled linearly, on a dB basis, or somewhere in between. In other words, by adjusting these controls you can introduce a very configurable degree of programme-dependence into the release behaviour.The Advanced pop-out also contains a control called Shape, which runs from Lin at one extreme to Log at the other. The idea is that compression can be made to sound more natural if recovery from a fast event such as a drum hit is also faster than it might be from, say, a sustained vocal note.

This default programme-dependent behaviour works very well most of the time, and when it does, it saves you the effort that would be involved in setting up something similar in Multiplicity. However, they seem to incorporate a degree of programme-dependence that allows them to adapt to the material in a very effective and forgiving way. For example, ProвЂ‘MB offers only a single attack and release slider per band, which aren't even calibrated in milliseconds. Whereas Multiplicity exposes lots of basic parameters for user control, FabFilter streamline things by providing fewer, higher-level controls.