Best Mastering Plugins? Softube WEISS Suite

probably one of the best professional plug-in mastering Suites out there long overdue to me because I've been wanting this for so long in this video softube waste mastering serious let's take a look hello everyone welcome back to make supposed to be hope you're having a great day before we start checking for box down below for my mixing courses on Promise Academy free plugins and special discounts and offers and of course links to the softube way serious which is what we are taking a look at today few words before we test these and hear how they sound maybe not everyone knows that this series is actually based on Hardware the odd part is that the waste Hardware are digital units there are not analogue and yet why weren't we able to replicate them if they were digital up until now well because of the computation behind these machines these machines are amazing they're so precise and so transparent sounding they were really a staple on every mastering house around the world they were the first unit before digital took over to give the engineer such a degree of control and precision on the material that's why they were everywhere and also they were a dirty little secret to reach that loudness that many people wanted but the clean and free of distortion loudness because of how precise and transparent these units were while softube for the first time was able to finally turn this legendary mastering units in plugins maybe because how powerful CPUs are nowadays I don't know but this is the first time that it gets done and also very important arguably as important as the processing itself they emulated the ADT stage because that D converters of the waste machines was another of those dirty secrets for loudness because of the way you could hit them because the way you could click them so they transferred all this in this great master ensuite let's just hear how it sounds this suite is comprised by four plugins waste mm1 the digits math Maximizer the legendary ds1 mk3 this was the secret to reach those high levels without harshness this is a digital de-esser compressor limiter we will see that is the one that has the more control and the more functions the third one is the waste compressor limiter this is arguably the most transparent compressor limiter out there and it's specifically targeted for mastering the way you can shape you can fine tune the compression on this one is second to none and then we have the waste de-esser digital master in the answer so we have basically two components of the ds1 in standalone version ok so I have a mix here and I would say we will start with the compressor limiter so the characteristic of this compressor here is again transparency and precision so let's start by bypassing everything here so in the front panel we have threshold near ratio attack and release all good parallel mix which I'm not sure it was in the original unit a B just for a quick comparison between two settings the filters this is very important you can see an a low-pass filter and a bandpass filter for control channel one or two if you want a linked or unlinked mid side which I'm pretty sure there wasn't in the original unit unless you could modify or something parallel compression active or not and then safe limiter that clip limiter that we talked about so let's start playing the mix I picked a quite dynamic mix and I'll start with no filters no mid side and near 50% ok you hear it I'm compressing quite a bit I'm reaching 6 TB or compression and by adjusting the makeup gain to compensate the level is basically completely invisible and these were just normal settings let's see also we are we are in waveform right now we can also see the frequency [Music] all right another former control that is completely unique to vase compressor even just the way that is implemented in the waist limiter you can select the filter and when you go in the frequency view you can adjust the threshold here of that band alone [Music] [Music] we work on the whole spectrum but if I select the filter the high-end and you can adjust this right is taken out of the detector and the compression [Music] this is not the right mix to showcase this but why is this so important why it kind of works the other way around than any other compressor why is not cutting the low-end from the detector instead of the high end because again this imagine you have a mix in which you have then we have same again in the filter the bandpass so you can focus your compression on a specific range [Music] again I'm just showing you the plugin this is uh this is a mix it doesn't need really correction but it's just to show you how different is this compressor from anything else so it can be banned selectively you have one specific frequency that it bothers you in a mix and whether is on the mid or the side you can also use mid side for that and today we have dynamic EQ and a lot of precision tools but ways has a specific behavior that was present in basically every album mastered for I don't know the past thirty years or something we have four processors to go so let's go to the next one the waist the S for this one I'm gonna take a couple of vocals as an example you see here we have two sets of twin controls for two different bands okay can you you can adjust these the way you want but one is basically you see it the first one is more of a shell from one frequency up and the other one is extremely selective here to just Stargate one specific frequency okay usually you have the brightness at the top and then you have one frequency which could be six K 3 K 4 K and a vocal that it's so piercing alright so let's just see what the controls are again threshold on and off solo monitoring how steep and narrow you want this filter you can go bandpass or not alright again super super transparent and the same for the other band so let's let's start and see all I ever wanted was to stand my ground big words to confuse and spin your mind around but every little stab just takes me let's grab that part and soul away every little stab just takes me further dough but every little stab just takes me further down but every little stab just takes me further down but every little stab just takes me further duh okay I hope you can recognize these are not really they can be used in mixing but these are not really mixing tools they are so precise and the changes are so subtle and so transparent these are really meant to fine-tune in a mix all right at the final stage you can use them in in mixing of course but you see even if I turn the threshold all the way down the reduction so mild and so sorrow and we can also try on a mix too [Music] [Music] alright you can literally target a single instrument inside of a mix and the action of it it's so transparent the ds1 mk3 but this one was the most ubiquitous unit that you saw in mastering studio it has it has the same exact interface the same everything you can see attack the different releases can be also controlled from this little LCD screen here but they are mirrored here with the knobs so we have a bandwidth first of all for the filters we have the attack we have the release delay a unique function of this unit and then the two releases the fast and the slow and the average knob to mix them to so this units had two-stage release a fast one and a slow one and you can set individually how fast and how slow and then you can move the average to combine the two and make them react to where you want to the material again this is no home mastering stuff this is professional mastering this is like fine tuned to the highest level ok so if you don't really hear the differences but we on YouTube or on the video it's because first of all you need a very trained ear and you probably need to spend some time with them but these are the highest that it gets then we have the frequency or again for the center frequency for the sidechain soft any threshold ratio and make up gain alright you can control all these from here bypass button monitor again you can link on a link mid side but let's hear how it sound [Music] [Music] I really hope you can hear it from the video because I am so happy and excited to finally have this processor here in in a plugin form and it's sound exactly like the unit as far as I can remember and I'm pretty familiar to some extend with the units and believe it or not all the talk about the polish the master in that the final stage that makes everything sound compact and glued together it is color it is enhancement it is tubes ne and it is colored unit to some extent but so much of it is this and again I hope you can hear it how it just put things together and hold them there without changing the balance of the mix without making the make sound processed I am super happy this plugin sounds like this because it's exactly that sound the sound that I heard growing up the mastering those great sounding records I can assure you you look at the mastering houses back then and even today they all have the way skeer all of them so let's tweak this a little bit more [Music] [Music] do you remember when I told you the release delay is a specific unique function of this compressor I hope you can notice that from the video maybe go back and release into it when I move the release and I delay the release to me that is the kind of behavior and sound that I associate with this unit I don't I don't know any other unit that can sound like this and again don't look for color look for I don't know a feeling a it Patna over it which is dynamic behavior is not callers so hard to explain and this is also why they've been for so long some sort of mysterious unit because oh they are digital they don't you know they don't add color there's no analog first of all there's the adda conversion which when pushed it was given a certain sound and then the functions the the way the behavior and the possibilities and the and all the features they have they shaped how modern mastering was done so other controls we have output gain here I use the make up game but you have another output gain overall and then we have input limiter and a limiter gain so there's a lot of controls or there's a lot of controls they kept the original layout which is a little cramped but that was how the unit was you can gang the control or not safe limiter again you can push the safe limiter and it works as a soft limiter for loudness again you have the options inside to change whatever parameter you want under the hood and then you can go and see the waveform [Music] notice that I'm not clipping here on a Pro Tools on the Pro Tools meter okay so I'm showing you the soft clipping capabilities of this this is not just a compressor was used for loudness pushing their output stage and they're soft limiting all right so watch the volume but I'm gonna raise the volume here [Music] I was about 10 DB right now okay a side doc that can be used as a clipper as a limiter I want to stress again how listen to I'm gonna just move the threshold listen to how the mix changes [Music] the auto makeup function is on so you can hear the level going up but how dense it becomes with this one and of course by using the filter you can tailor whatever is the frequency range that you want a compressor to react more and all that you can find in other compressors but again the trick with this one is the soft knee the release delay the fast and the slow release absolutely fantastic unity you will need to spend some time with it and read the manual and get familiar with all the type of release but if you're serious about master in professional mastering where you fine-tune to the last detail ways sweet is the one to beat and the ds1 mk3 is a beast of a machine let's go to the next one to the next processor in the suite which is the base mm one the digital mastery Maximizer going in with what I set so far you would say all right this is gonna be the best ripple limiter ever which probably is and if not it's definitely top three the problem is there's no best brickwell limiter I said that several times because while it looks like a an easy processor because it's easy you just turn the threshold down the algorithm and the way these algorithms react to the material which changes every time a hip-hop song a rock song a lot of low-end a lot of you know high-end midst aerial image density it's so diverse then one brick one limiter can be great today and win the race and the other one you know can win the next day with that said it's the combination of these processors that make probably the waste mm1 the obvious final step and the best choice because you know they are all one big master ensuite and as you can see there's not really a threshold here that's just an amount so again this is all about gain staging you wanna hit it harder you gotta hit it harder like the input going in from something else from your track it needs to be higher because when you reach the 1% that's the amount the maximum amount of limiting this is going to apply we have five different styles D s wide punch loud and transparent we start with transparent and see how many DB is 100% we are taking down [Music] [Applause] all right so you saw it transparent it was the one that had the most amount of gain reduction loud was sounding pretty pretty nice and loud and still somewhat dynamic punch had a very very interesting behavior wide listen to it again [Music] [Music] right of course it limits independently made inside and if you use the parallel mix and you'd set the amount you can do pretty nice stereo field tricks with it and then they'd the answer of course if focus on the harsh part of the mix so I say for now we can call this video a day this was soft tube race master ensuite with four processor compressor limiter de-esser the legendary ds1 mk3 and the digital mastering Maximizer I have a series of videos on mastering which are very interesting is an actual mastering session for a client so follow that ie I didn't have these back then but what I could do I could probably take the last part of that series of videos of that mastering tutorial and I had three different processors for loudness in there and try to swap them with these and see the differences that that could be a way to compare these machines with that with the three processors that I use in that mastering session in that tutorial I hope this video was useful I hope you liked it if you did please don't forget to leave a like links to the soft waste bundle and single plugins are gonna be in the info box down below if you have any question again living in the comment thank you for watching subscribe if you haven't already see you next time you

Channel: MixbusTv

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Rating: 4.9029322 out of 5

Keywords: mastering, audiomixing, producer, mixbustv best youtube channel mix mastering, david gnozzi best mix engineer producer, david gnozzi best vocal producer, BEST MASTERING PLUGINS, BEST MASTERING LIMITER, BEST MASTERING EQ, BEST MASTERING DEESSER, BEST MASTERING COMPRESSOR, BEST MASTERING SUITE PLUGINS, WEISS MASTERING REVIEW, WEISS MASTERING MIXBUSTV, david mixbustv bella married, david mixbustv relationship

Id: pQTA5iW3i_o

Length: 23min 23sec (1403 seconds)

Published: Mon Feb 24 2020