Mixbus processing11/4/2023 ![]() ![]() Input and Output offer various pre and post processing functions – levelling, stereo balance and phase adjustment – as well as a Tape Equalizer with four intriguing frequency response curves. Modelled on the legendary EMI TG12410 Transfer Console found in Abbey Road’s mastering studios, Waves’ faithful emulation lets you use as many or few of its five processing modules as you like – TG12411 Input, TG12413 Limiter, TG12412 Tone, TG12414 Filter and TG12416 Output – in stereo, dual mono or mid-side mode, with the signal flowing through the middle three in any order (Input and Output are always first and last, of course). Presenting a tightly conceived, thoughtful take on SSL-style bus compression with some very worthy extra bells and whistles, Bus Processor stands as a fine option for dynamics control and stereo imaging, with a sonic character that spans the spectrum from supremely transparent to wonderfully warm. The Saturation section enables analogue distortion to be applied in Tone or Harmonic mode, pre or post compression, with the Tone Shift knob controlling a tilt filter for low- or high-frequency emphasis and the Stereo panel houses controls for boosting high-frequencies in the mid and side signals, balancing the mid and sides, and mono-ising the low end. The compressor is based on the G-Series but boasts a number of empowering improvements over that revered hardware, including knee shaping, continuously sweeping (as opposed to detented) knobs and tempo-syncable release time, and tweaking of the sidechain response in terms of stereo detection and frequency response. Released mere days ago at the time of writing, Softube’s analogue-modelling plugin is an SSL-inspired bus compressor with adjustable saturation and spatialising, aimed at gluing and colourising the mix bus, not to mention drums and other channel groups. Excellent visual feedback is provided via the completely foolproof Dynamic Range VU meter, plus collar metering of compressor and de-esser gain reduction, and ultimately, bx_masterdesk sounds superb and more than lives up to its promise of exemplary ease of use. Brainworx’s proprietary TMT (Tolerance Modelling Technology) gets a look in, too, yielding four subtly differing variants on the analogue modelled compressor circuitry. Then there’s a low-frequency (20-300Hz) mono-iser, a fabulous stereo widener/narrower, a de-esser, a dry/wet mix knob for the compressor, and even boosting/attenuating of THD. The brickwall limiter at the output can be treated to an optional 1dB boost for a ballsier master, for example, while a pair of filters enable notching out two of four available preset resonant frequencies. There are quite a few points of adjustment beyond that, however, each of them similarly reductive in their presentation. ![]() This simplicity and user-friendliness manifest as a concise three-stage core workflow, with the Volume and Foundation knobs dialling in compression and bass (tilt) EQ, and the Tone section offering four bands of fixed-frequency EQ. ![]() Brainworx’s ambitious plugin is designed to not only bring all the processors required for effective mastering together in one place, but also make using them so simple that even the timid newcomer to mix finalising should be able to get great results in minutes.
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