Bob Katz doesn't use the DS1 MK3 anymore. I saw that in this recent video of his studio tour

I guess there's better algos nowadays.

 

It it was truly state of the art up to today's standard or sold well, it wouldn't come out as a plug-in.

 

I disagree, it's actually really nice.

The install process and the GUI are a bit of PITA (missed opportunities I guess.)

I'm going to spend the weekend with the demo and let the new wear off before making any observations, however so far I am liking it.

 

Kotelnikov is such a well designed plugin from all points of view ...TDR team is an example of ''how plugins should be made and commercialized'' in modern times

 

Yes, nowadays, there's a lot of really great plugins! TDR, Fabfilter, also, more expensive but amazing algo, there's the Leapwing DynOne

 

Imho, nevermind if the plugin is good or not though, because Bob Katz is very much respected Guru on this field, and thus makes the preset priceless. If not all, we can try to learn something by looking at, and carefully study/examine at each of these newborn presets, and then try to find some answers to such questions like: Why did he do, the things he do? What does this preset actually mean? How did he do that? (also, What makes he do that?)

 

This is my current fave. Note the Stages control. This limits by taking multiple slight slices. That's what I call transparent.

 

Its funny you brought up DynOne, as thats what supposedly Bob Katz replaced his Weiss with.

 

yes, I saw that ;)
I made tests with DS1 MK3, it sound very good, but I've got better result with DynOne. (Not compared yet with Elevate).

 

To clarify: An iLok account AND the iLok Licenser (= the Software) are a necessity to activate softube plugins. The iLok dongle however is optional. And that's okay. Unlike McDSP and Slate and a bunch other vendors who require the dongle as well.

 

Looks like if he doesn't have a huge desk in between him and the speakers. The listening position/distance to the speakers looks pretty far as well.

 

That's pretty normal for post production / mastering rooms. His room is actually kind of cluttered, some people go to extremes to tuck away everything possible that could reflect or absorb or redirect a sound wave in any other direction than the one intended.

Being far from you speakers isn't a bad thing as well, mastering loudspeakers are also usually not designed as near-fields, but with any speakers there are many benefits to space behind and in-front of the loudspeakers.

 

So after the having spent a few days with DS1-MK3 I can say that is a really nice and classy broadband compressor and an extremely smooth musical sounding DSing wonder. The GUI is not as much of a cluster fuck as it seemed at first sight, but this unit is deep and menu diving just isn't my thing anymore. I think there was a missed opportunity there.

As a broadband compressor it has a surprising forgiving nature on the low-end grabbing it enough to shape the dynamics but not pancaking the sound. It's a very musical compressor, it's clean but when it does add something it doesn't add just broadband feedback whatever is going on is harmonically pleasing, which means that you can get away with some high GR compression doesn't really become noticeable on this plugin until you've gone past 5-6dB of grain reduction, which is amazing for plugin. There do seem to be some bugs with AGC and some weird behavior when mousing over the unit.

As a De-Esser I think this unit is probably one of the smoothest best sounding classy De-essers available in plugin form. It's not however so much better that it justifies it's price.

The issue for the DS1 is going to come back to price. The hardware units I am sure are worth their cost because they are well built, well supported and I've never heard or read anything bad about Daniel Weiss. His machines work when you get them, keep working for years, are well supported and sound great, however in the software world there are just too many alternatives. They might be a little fiddlier or take a minute or two longer to dial in than the DS1 but unless you are mastering (and this is a mastering compressor, it just handles dense mixes better although it would probably still do wonders on a single tracks) track after track and you have such a back log that getting a good sound dialed in quickly is important the DS1 is probably not worth the cost.

It's honestly amazing that this is just a direct code prot and that 10 years ago Mr. Weiss developed such a lovely unit. It really is a testament to the talent of the man that it still sounds sweet and delicious after all this time... though I think Softube were rather lazy in their implementation and in the UIX department.

Cheers.

 

Demoed. Sounds good: absolutely. Sounds better than anything I've heard before: absolutely not. Worth the asking price: definitely not.

 

I replaced my md3 finaly with the weiss, i never try anything like this. This is game changer, professionals will know why , tc 6000(md3) and the weiss hw (now sw) are an industry mastering standard

 

Totally agree concerning the HW version.

 

SW version of weiss is the best mastering plugin ever made . MD3 was irreplaceable until now

 

Maybe use it for a little while and then compare them head to head. The seduction of the novel can oft falsely appeal.

 

Sorry guys, but this thing actually sounds better than any other vst compressor out there. I am making a living from mastering and there is no other plugin that gives me results like this. The compression it does, sounds like a finished record. Makes everything sound more expensive in just a few minutes. And I own (and use) Acustica compressors, like Ivory and Pink 2.
If money was a problem, I wouldn't buy it. But as I can cover its cost in 2-3 days of work, I consider it cheap for what it does.

 

What does "expensive" sound like, exactly? Not trying to call anyone out, genuinely curious.

In other news, I just bought a new $500 suit. It tastes VERY expensive