that's why it seems so musical to me.

 

that's the key here for me too

 

It's an aliasing machine.

 

I tried their functional demo, and it is the most transparent one I have heard but paying $1500 for a VST is totally ridiculous. And that was the price like 10 years ago when it came out. In today's money it is close to $1,800. Crazy.

Let us put it this way,this plugin is NOT an emulation. it is a 3-year-long line-by-line Weiss code that runs on the five high-performance, 40-bit, floating-point SHARC chips found in the DS1-MK3 digital hardware. Needless to say, if you have used the hardware, this plugin sounds 100% just like its counterpart. Before buying it, I did compare it to a friend's hardware unit. If you pull the trigger go for the bundle which includes the MM-1 Mastering Maximizer, the Deess de-esser, and Compressor/Limiter plug-ins. The DS1 is a beast. Right now, I am in the process of building a hardware controller that resembles the original hardware, with the ability to host the plugin. If I succeed, I will have a hardware Weiss DS1 for less than $1500.

 

For mixing I'd agree, but when it comes to mastering, which was what OP was speaking of, there often is a real need for a corrective compression. Often m/s and/or frequency-dependent.

 

True. As I said, if there is a need for it I will use it. It is exactly the reason why I purchased the Weiss, otherwise, I would not have done it. The hardware comps I own are more for artistic approach than corrective as each will add their own colour to the material you are working on. The Weiss fills that void. More so in my case, I come from the school of fixing it during the mix, and using comps only as needed in the corrective approach.

 

Considering nobody specified digital or analog, or differentiated whether it had to be parallel or multiband...

I choose the Aphex compellor. It has always been transparent. It was made to be transparent and so far there is no plugin that does what it can.

http://www.aphex.com/products/320d-compellor

 

No love for SSL G-Comp? Also, as someone else mentioned above, gain riding is more transparent than compression -- Waves makes a couple of great gain-riding plugs (Bass Rider, Vocal Rider, etc.).

 

Maat will rerelease it with new GUI, x64 vst2 and vst3 support, with some dsp improvements, and after that r2r will crk it. Months or year or bit more... But soon. Hahaha

 

These damned Russians are nothing but a bunch of trolls.

 

Heaps of people are judging software by their looks [placebo], not what they sound like. Well, it's also true you can't really hear much from about -70dB and lower... graphs can tell you the whole story, though. @Avenger Polysquasher is better than Daft compressor for mastering.

 

Focusrite Compounder isn't so bad, either. I'm considering buying one to add to my stable. Aphex is kinda hard to find in Europe. Shame.

 

It's true but it was specified that we were talking about plugins.
However, thank you @The Freq I didn't know the Aphex

 

i think you have no idea what you are looking for!
1: Cleanest com?
2: compressor that generates little distortion and artifact?
3: The compressor that delivers the most "transparent" compression.

i didn't understand just what kind of comp it could be?
please guys let me know if you found it out, thanks in advanced!


Edited:
But i would definitely go with AA or UA!


Best regards,

 

I can't agree more with you on that. However, many times that is how decisions are made. Accordingly, developers use it to dupe as into buying their offerings. As subjective as "the best of anything" always turns out to be, we can't overlook the fact that when it comes down to it, mixing/mastering is dependent on what we hear regardless of whatever we may be seeing. You must trust your ears.

 

If you don't understand, I can't do anything for you, sorry !

@Hooman.Leys, Thanks... for not helping me

 

I agree, believe the ears, but asking confirmation to the eyes

 

Sorry but if you work(as i do every day)in 44/24 bits the aliasing is irrelevant. Said this, this is one of the best bus/mastering comp ever.

 

Only to a certain extent. Better to believe your ears, and ask confirmation from your peers' ears. Eyes can deceive you easily, and lead you in the wrong direction. Every other year we take in a new audio engineer intern from Full Sail University, a constant I have noticed is that the vast majority can't mix without constantly looking at the vst's GUI, or numbers shown on hardware face plate. Indeed, too much emphasis is put on what they see, instead of on what they hear. We get tired of repeating to them that if it sounds right, it is right. Indeed, if it sounds right, and you start using "visual confirmation" 99% of the time end up retracing your steps, and making unnecessary adjustments that result in a mix that often sounds worst. A blind engineer can mix, and master as well as any engineer with full eyesight. A deaf person can't do either with good results.

Disclaimer: Wise asses need not ask "how can I mix or master with a vst if I ain't looking at the GUI?"

 

Last edited: Jun 22, 2020