With the compressor, I heavily compressed the signal. With that in mind, I reduced the output of both processors since I wanted this parallel channel to be introduced subtly. This routing will double the amplitude if you don’t attenuate the signal. I think since I didn’t have a visual for the additional signal this was confusing at first, but makes sense when you think about running a signal in parallel. One thing that I didn’t expect for some reason was for the send to be set to unity, in turn doubling the amplitude of the signal. (Parallel) Saturator X I use this compressor to heavily compress the parallel signal.Īt the same time of processing the signal with the One Mastering Processor, I sent a parallel signal to a bus compressor and subsequent saturator. This will help the master translate better over smaller speakers that can’t support the full frequencies spectrum.

Lastly, bass punch augmented the kick and the thump of the bass guitar. I increased the gain without triggering the limiter, as well as introduced some moderate transient expansion, and analog emulated harmonic distortion. I added some air for the high end, some focus which clarifies the mids, a small amount of body for the low-mids, a little push to bring quieter aspects of the signal forward, and a tiny amount of stereo expansion. It was designed to include everything you’d need for a quick master, but it can be used subtly in a chain to really augment a master. It’s an EQ, an exciter, an expander, and more. One – Mastering Processor One handles a lot of processing.

This averaged about 0.3dB to 0.7dB of attenuation. I used a moderate release speed, 3 bands to isolate the frequencies, and a soft de-essing type to keep the effect subtle. With some very subtle settings, I used this de-esser to control the high frequencies – mainly sibilance. De-Esser A de-esser will calm down sibilance before amplifying the signal and potentially making sibilance worse.

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