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Metric Halo插件套装Metric Halo Plugins Bundle v4
VST插件格式：
VST/VST3/AAX
格莱美级音频工具集Metric Halo Plugins Bundle v4，集ChannelStrip、Sonic EQ等20款插件于一体，提供从录制到母带的完整处理链路，是全球顶级工程师的必备之选。
格莱美®奖得主工程师和全球热门金曲制作人都在使用的必备工具套装！
Metric Halo Plugins Bundle v4是一套信号处理插件，让您摆脱录音的束缚，直接投入到音乐制作中。它包含了塑造、驯服、处理和母带处理音轨所需的所有关键工具，是每位音频工程师都不可或缺的必备工具套装。
MH ChannelStrip
适用于所有 DAW 的传奇通道条处理插件
MH Sonic EQ
经典数字母带均衡器
传奇般的音质、精准度和多功能性
MH SuperGate
终于，一款真正能胜任门限功能的门限插件……
MH Dirty Delay
颗粒感十足、富有音乐性的反馈延迟插件
MH Character
满满的复古韵味……
MH HaloVerb
打造您的专属空间
MH Multiband Dynamics
有时，最好的均衡器就是压缩器
MH Multiband Expander
拓展您的音乐视野
MH TransientControl
精密瞬态调制器和波形塑形器
MH Precision De-Esser
精准消除顽固齿音
包含：
1. CGII—————————–限制器插件/母带响度插件
2. MB MixHead——————–磁带饱和器插件
3. MB TMPC———————–LO-Fi插件
4. MB White Room—————-混响插件
5. MBDBVerb———————-混响插件
6. Make Believe Bundle———–混音插件套装
7. MBSI—————————-通道条插件
8. MELD—————————混音插件
9. MH ChannelStrip—————通道条插件
10.MH Character——————失真插件
11.MH Dirty Delay—————–延迟插件
12.MH HaloVerb——————混响插件
13.MH Multiband Dynamics——多段压缩器插件
14.MH Multiband Expander——扩展器插件
15.MH Precision DeEsser———消齿音插件
16.MH Sonic EQ——————母带均衡器插件
17.MH SuperGate—————-门限插件
18.MH TransientControl———-瞬态整形器插件
19.Sontec MES-432D9D———-均衡器插件
1. CGII
此次合作的成果是 CGII——一套母带动态处理工具包。
CGII 由两个互补的动态增强模块、一个全新的真峰值限制器、直流阻隔和抖动功能组成，并通过炫酷的电子管灯丝显示屏显示 LUFS/真峰值电平表，所有模块均可实现高达 16 倍的过采样（或完全不过采样，取决于您的个人喜好）。
该设计优先考虑音乐的完整性和易用性，能够在不损失空间深度和冲击力的情况下，有效地提升响度、力度和清晰度，而传统动态处理器往往会造成这种损失。
使用 CGII，您可以提升母带的响度，同时保留原始混音的清晰度、密度和力度。即使您的混音已经足够响亮，您也可以在此基础上进行一些额外的增强，而不会产生令人不悦的失真，也不会使声音变得扁平或削弱低频的活力。同时，您可以控制节目的真峰值电平，确保不会出现采样间过载。
我们还加入了抖动、直流阻隔滤波器和完整的 LUFS/真峰值电平表，因此您可以将 CGII 放置在母带处理链的末端，作为最终处理的一站式解决方案。
虽然 CGII 最初的设计目标是同时提升音量和音质，但您会发现它在混音和处理链的各个环节都表现出色。
使用响度处理器来激发谐波。使用密度处理器来增强声音的饱满度和低电平清晰度，而不会影响瞬态。或者，您也可以将极其透明的真峰值前瞻限制设置在任何需要的地方。
功能：
世界一流的信号处理和工作流程。
用户可选的过采样（最高 16 倍）。
密度处理通过提升之前被掩盖的细节，有效地提高感知到的节目电平，而不会影响高电平峰值动态。
响度处理功能可在保持峰值电平低于满量程的情况下，透明地提升 RMS 电平。
真峰值限制器可透明地控制输出电平，确保真峰值电平永远不会超过指定的上限。
直流阻隔滤波器可消除任何残余直流偏移。
抖动功能允许您将输出抖动到 16 位或 24 位。
辉光管可提供用户可选的任何电平表值的 dB 读数（LUFS 集成、LUFS 短期（或保持）、LUFS 瞬时（或保持）、真峰值或 TP 保持）。
包含多个预设。
可调节的 UI 大小。
MH 预设管理器 – 提供跨平台预设。
2. MB MixHead
问：当音频考古学家 Rick Carson 发现 Serban Ghenea 混音主总线处理链中一个未被提及的关键组件时（讽刺的是，这源于 Serban 在与 Metric Halo 合作的 ChannelStrip 原始采访中的照片），会发生什么？答：Metric Halo 和 Make Believe 确定了如何从头开始重现该流程，然后将其发送给 Serban，看看它是否能实现最初促使他在自己的总线上使用的“那个功能”。Serban 告诉我们它确实能实现“那个功能”，并要求我们添加一些新功能，然后转而使用 MixHead。
新增功能如下：
一款全新的 3.75 IPS 型号，具有更强的颗粒感
支持高达 192kHz 的采样率
支持离线导出
支持多单声道，以实现 Atmos 混音
Serban 慷慨地贡献了一个预设，其中包含了他使用原设备时最常用的设置。该预设已包含在 MixHead 中。
由于 MixHead 是一个插件，与设备不同，您可以完全调用会话设置，因此您可以放心地尝试不同的设置，因为调用功能是内置的。
MixHead 是一款模拟磁带的处理器。它并非旨在忠实地模拟磁带；例如，它没有磁头凸起，也没有磁带配方等参数。相反，它捕捉了磁带为录音过程带来的一些关键元素，同时避免了磁带的诸多缺点。
它增加了饱和度和粘合力，使音频频谱中不同的元素融合在一起，并在混音中“和谐共存”，而不会削弱高频或导致音频失去瞬态响应。
3. MB TMPC
为了打造 TMPC，我们精心捕捉并建模了 Terrace Martin 的 MPC3000 独特的信号路径特性。
Terrace Martin 是一位曾八次获得格莱美奖提名的多乐器演奏家、说唱歌手、歌手和唱片制作人，他曾与 Kendrick Lamar、Herbie Hancock、Snoop Dogg、Stevie Wonder、The Game、Busta Rhymes、Charlie Wilson、Raphael Saadiq 和 YG 等众多音乐人合作，并拥有多部获得格莱美奖提名的作品。
MPC 已成为他制作流程中不可或缺的一部分。这款设备一直以来都以其独特的 16 位转换器音色而备受推崇，这种音色赋予鼓点和采样一种独特的个性和冲击力，通常被描述为“敲击感”。
TMPC 专为词曲作者、制作人、音乐家、节拍制作人、多乐器演奏家以及任何想要将爵士乐曲改编成嘻哈音乐的人士而设计。可以轻松地为鼓、贝斯、人声等所有乐器添加嘻哈节奏感、精细可控的分层失真和特色，就像在源头直接采样一样。
4. MB White Room
调试出完美的混响效果可能既繁琐又耗时——大多数工程师和制作人对此都深有体会……
现在一切都将改变！
隆重推出 MB White Room，这是底特律制作人 Jake Bass（传奇 Bass Brothers Lineage 和 F.B.T. Studios 的成员）的创意结晶。
MB White Room 由 Jake Bass 与 Make Believe Studios 和 Metric Halo 合作打造，旨在捕捉经典数字混响音色背后的灵感。这种音色与 90 年代末和 2000 年代初的标志性嘻哈唱片紧密相连，其中包括 Eminem、Dr. Dre 和 F.B.T. 等艺术家和制作人的作品！（还有 Brad Paisley！）
MB White Room 旨在捕捉那种深邃而精致的空间感，为歌声、鼓、吉他等乐器带来清晰度和独特的个性。
它简洁的设计让您专注于音乐而非菜单，只有三个基本控制：混音、预延迟和长度……让您在几秒钟内就能获得绝佳效果！
5. MBDBVerb
在漫长的职业生涯中，屡获白金唱片大奖的超级制作人/工程师 David Bendeth 开发了一套令人惊叹的工作流程，可以将应用于通道或总线的多个混响效果融合在一起，从而打造层次丰富、细腻入微的声音。
如果将这套工作流程与一个定制的混响引擎相结合，该引擎提供 David Bendeth 在其经典录音作品中使用的关键混响音色，会发生什么呢？
DBVerb 复刻了 David Bendeth 最喜欢的 12 个混响音色。
该插件还实现了他标志性的混响调音工作流程：将 4 个不同的混响效果并行处理，每个混响效果都配有独立的推子，让您可以快速地将每个混响效果融入到整体响应中。
它使用起来快速便捷，让您无需花费数小时浏览音色和参数，即可轻松调出完美的混响效果。轻松获得出色音色，几乎不可能设置出糟糕的效果。
每个混响条都允许您从 3 种不同的混响音色中进行选择。
每个条上的独奏 (Solo) 和切分 (Cut) 控制让您可以轻松试听各个混响条的声音，而无需调整整体平衡。
该插件还包含混响后高通滤波器和高架均衡器，以及一个整体预延迟控制，允许您根据 David 的设置增加或减少混响的预延迟。
集成的增益补偿干湿比控制让您可以调节出直通和混响声音的完美混合比例，或者直接将插件设置为 100% 湿声，以便在混音中使用辅助推子。
最后，每个混响条还包含一个长度控制，用于缩短相应混响的尾音——您可以根据需要减少混响的干声，甚至可以调节出绝佳的门限混响效果，而不会出现任何抖动或电平相关的问题。
6. 奇思妙想套装
包含：
1. SPRES
2. Kevin’s Limiter
3. Good Math
4. Parallel Process 1 – Parallel Process 2 – Parallel Process 3&4
5. MBEQ
1. SPRES：
现在，您可以正式体验彻底改变重型吉他音色的脉冲响应 (Impulse)。
SPRES 是一款超棒的零延迟吉他箱体模拟器，配备两个可混合的脉冲响应 (IR)，并支持自定义调音和非线性效果。这款处理器由 Ryan Harvey（传奇 S-PRES 吉他箱体脉冲响应的创造者，Make Believe Studios 的首席工程师）和 Metric Halo 共同开发，包含一个零延迟 IR 播放器，运行经典的 SPRES IR 和一个全新的 SPRES2 IR，并结合了手工调校的后级均衡、箱体混合和扬声器非线性效果。
此外，这款插件还包含一个由 Ryan Harvey 和 Antonio D’Aquino 设计的全新脉冲响应，旨在以最佳方式补充原版脉冲响应！
2. Kevin’s Limiter：
Kevin’s Limiter 由 Kevin McCombs（曾为 A Day to Remember、Sueco、Papa Roach、Dreamers、5 Seconds of Summer 和 The Devil Wears Prada 等乐队/艺人制作音乐）设计，是一款功能极其全面的固定功能限制器。
3. Good Math：
Good Math 是我多年来一直使用的一种技巧。你可以称它为增益级、削波器，甚至可以说是舍入误差（这可能是我听过的最贴切的描述）。这三个不同的数字听起来有区别吗？也许有？每个数字都使用 1dB 是否比单独使用 3dB 更好？也许吧！
4. Parallel Process：
Parallel Processor 插件基于 Rick Carson 多年来在其 SSL 控制台上使用的技术。每个插件都针对特定乐器而设计，包括人声、打击乐器以及吉他、合成器或弦乐等中音乐器。无论您是出于预期用途使用并行处理 1 和 2，还是仅仅想把它应用到人声上，聆听它从音箱中迸发出的震撼效果，
您再也不用熬夜翻阅 15 年前的论坛帖子来寻找心仪的声音了。我们把每个并行插件都精简成最易用的版本，并经过反复验证，确保其有效性。无需晦涩难懂的设备，也无需学习复杂的路由技巧，只需调高音量，尽情享受即可。
5. MBEQ：
一旦您掌握了快捷键的使用方法，MBEQ 就会变得非常有趣。特别是三指点击模式（Ctrl、Option、Command + 单击）。这让您可以像演奏乐器一样演奏插件。或者，您也可以拖动圆点，直到声音达到最佳状态。您可以根据自己的喜好进行调整。
我们最初就是在这里实现了“灵魂窃取”的概念，您可以在“秘方”中找到它。 MBEQ 的核心音色采样自我们那台老式 Pye-tvt 调音台，它是 BBC 的 OEM 设计。
开启“Sauce”功能时，它的音色就像一台经典的 60 年代英式均衡器；关闭该功能时，它又很像 Metric Halo 通道条的全新演绎——Metric Halo 是世界上使用最广泛的第三方插件之一。
7. MBSI
现代经典
MBSI 是对美国最成功的定制调音台之一的忠实复刻。
这台调音台由 MCI 的技术人员为位于佛罗里达州迈阿密的 Criteria Studios 的 C 录音棚量身打造，曾用于制作数十张销量数百万的热门唱片。
老鹰乐队、埃里克·克莱普顿、比吉斯乐队和 Grand Funk Railroad 等艺术家都曾选择这间录音棚和这台调音台，与包括汤姆·道德和传奇制作人比尔·西姆奇克在内的世界顶级制作人合作。
我们与 Make Believe 和比尔·西姆奇克携手合作，首次将这台传奇调音台带入您的 DAW 中。
现在就体验 1976 年迈阿密的声音吧！
MBSI 是 Criteria Studio C 定制 MCI 调音台通道条的忠实模型。它包含麦克风/线路输入部分、动态处理部分、均衡器部分和推子，以及对调音台立体声总线输出的精确模拟。
原版调音台采用纯粹的模拟电路，只需经过通道处理，就能留下美妙的箱体音色。和当时许多设备一样，它既独特又令人惊艳。你会发现（就像我们一样），面板上的标记与处理器的实际工作状态并不相符。
均衡器模块尤其出色。它采用简洁的设计，元件数量有限，利用元件的固有特性来实现均衡。这意味着所有控制旋钮都会相互影响，滤波器的Q值等参数会随着增益和频率的变化而变化。
这在今天看来或许会被视为缺陷或使用上的挑战，但就像原版调音台一样，MBSI 会引导你根据听到的声音和其有限但极具音乐性的选项范围做出正确的选择。
原版调音台的动态部分是一个抑制器，原本是为模拟磁带设计的，这在现代制作环境中并不实用。调音台的控制旋钮是阶梯式的。均衡器的中频段只能进行提升，滤波器部分也只支持低切或高切。换句话说，这台调音台受限于当时的技术和设计。
在与 Bill 的讨论以及 Beta 测试人员的反馈之后，我们决定，虽然我们希望忠实地还原原版调音台的通道条（“经典”模式），但我们也希望有一个模式能够反映更现代的工作流程，并体现如果我们对调音台进行升级改造时会做出的改动。因此，我们添加了“现代”模式。
在现代模式下，MBSI 会替换一个通道压缩器，该压缩器模拟了 Bill 当年在调音台上使用的外部压缩器类型，并且控制旋钮可以连续工作（同时仍然保留了快速跳转到原版阶梯式控制值的功能）。我们还新增了一些功能，允许您对中频段进行切频，并同时启用高切和低切滤波器。
MBSI 完美捕捉了七十年代的声音——现在您也可以做到！
8. MELD
三十年来，约翰·汉斯 (John Hanes) 一直是世界知名 MixStar Studios 的掌舵人，对现代音乐之声的塑造起到了至关重要的作用。通过我们里程碑式的合作，MELD 让用户能够以前所未有的方式接触到他的专业知识。
我们与约翰直接合作，深入剖析并精心建模了他已臻于完美的现代沉浸式工作流程，使其达到行业最高水平。
MELD 不仅仅是一款产品，更是通往母带制作流程的直接途径。
MELD 为您的 ATMOS 和立体声混音处理提供了一套完整的信号链：
12 段全参数均衡器（带分析器）
压缩器
限制器
响度/削波处理器
MixHead 磁带饱和处理器
所有处理模块均可动态重新排序，并可跨任意数量的实例进行分组。
MELD 是解决在 ATMOS 中构建连贯音乐混音难题的理想方案。 MELD 的诞生是为了解决 John Hanes 在构建沉浸式 ATMOS 混音以匹配立体声母带时遇到的关键问题。
在 ATMOS 沉浸式混音中，声道被混合到背景和对象中。
背景是一个多声道总线或分轨，其处理方式与立体声总线类似（前提是您拥有支持多声道的工具——MELD 正好提供了这种工具）。
对象是实现沉浸式顶部声像定位所必需的，它们由渲染器进行声像定位——这意味着它们必须以离散的方式交付。简而言之，使用 ATMOS 对象时，当您处理概念上构成总线的音频时，您创建的总线是虚拟的（因为在混音环境中永远不会有总和）。
使用虚拟总线，就无法应用总线处理，而总线处理是构建流行和摇滚乐混音的关键技术。
MELD 优雅而快速地解决了这个问题。事实证明，解决 ATMOS 混音中的这些问题对立体声混音也大有裨益。
将 MELD 插入到会话中后，每个实例都能感知到其他所有实例。您可以直接从 MELD 用户界面访问任何通道，无需在宿主 DAW 中导航混音——所有功能（包括独奏、静音、电平表和分组）都触手可及。
MELD 拥有 26 个虚拟总线（组）；任何实例都可以添加到组中。组中的所有实例共享相同的处理器设置。这使您可以将相同的处理应用于多个通道——就像将它们连接在一起并在总线上应用处理一样。但每个通道仍然可以独立使用，发送到对象或进行进一步处理。
MELD 还允许您管理组中动态处理模块（压缩器和限制器）的检测器侧链。这使您可以从组内或任何其他包含 MELD 实例的通道或总线控制通道——所有这些都无需在宿主中管理复杂的路由。组的默认共享侧链路由允许您对路由到对象的通道实现总线压缩。
MELD 还提供了一些传统总线处理工作流程中无法实现的令人兴奋的新技巧；由于总线中的各个通道在处理后仍然可以独立使用，因此您可以在总线压缩后调整电平和均衡——无论您是计划将这些通道发送到对象，还是仅仅将它们子混音回立体声总线或多声道伴奏。
9. MH ChannelStrip
25 年来，Metric Halo 的 ChannelStrip 一直是无数格莱美获奖唱片、金唱片和白金唱片、热门电视节目和票房大片的不可或缺的音效处理工具。对于全球成千上万的专业录音工程师、作曲家和音乐家而言，ChannelStrip 是快速获得“理想音效”的关键工具。
作为一套信号处理工具包，ChannelStrip 集成了处理混音中各个通道以及整个混音总线所需的一切功能。
ChannelStrip 包含扩展器、压缩器、多频段均衡器和限制器，提供统一的界面来处理您的音轨。它还包括相位反转、通道延迟、全面的电平表和 SpectraFoo™ 频谱分析——让您不仅能听到音频，还能看到音频。
10. MH Character
Character 是一款插件，可让您为源音轨添加经典模拟电路的迷人失真特性。
为了打造 Character，我们邀请了顶尖的录音、混音和母带工程师，请他们提供自己最喜爱的模拟硬件：录音、混音和母带处理中使用的话筒前置放大器、DI 盒和均衡器。然后，我们使用 SpectraFoo 来测量这些处理器如何为经过它们的声音添加美妙而粘稠的模拟失真，并使用我们独有的 +DSP 技术对这种失真进行建模。
Character 提供 24 种不同的模型，融合了电子管、变压器和固态器件的声音。Character 具有驱动控制（和自动驱动）功能，让您可以进一步增强失真，实现极致的声音扭曲效果。
11. MH Dirty Delay
MH Dirty Delay 是一款音色绝佳的反馈延迟处理器，在延迟路径中集成了 Character 和滤波器。您可以使用它来创建令人惊艳的复古回声和磁带延迟风格的声音，以及在混音中营造丰富而微妙的空间感。
MH Dirty Delay 不仅仅是一款音乐反馈延迟，它更是一款特别的产品。 Dirty Delay 集成了反馈回路中的滤波器和特性控制，您可以随心所欲地调整音色，使其干净或浑厚、复古或未来感十足、细腻或狂野。
凭借双延迟线、串音、反馈和失真控制，Dirty Delay 能够从音频中创造出极其丰富而复杂的纹理和音型。Dirty Delay 能够为声音增添质感和动感，而不会像常见的反馈延迟那样，使声音变得浑浊暗沉。
12. MH HaloVerb
HaloVerb 是一款混响处理器，可为您的录音增添氛围感和深度。
HaloVerb 插件基于 Metric Halo 接口的原始硬件 HaloVerb 实现，在出色的算法音效基础上进行了扩展，为您提供更大的灵活性和控制力。
使用混响脉冲响应图可在调整时查看混响场，或者隐藏图形，让您的耳朵来引导您进行调整。
使用 HaloVerb 添加微妙的氛围感，或生成复古回声室的声音——丰富的预设和易于使用的用户界面让您可以快速调出想要的声音。
13. MH Multiband Dynamics
Multiband Dynamics 是一款处理器，可为您的混音增添清晰度、温暖感和冲击力。
Multiband Dynamics 通过三段分频器处理音频，并在每个频段进行独立压缩，最后通过限制器将结果相加，从而塑造音频的音色。不使用压缩，您可以大致调整音轨的音色；如果需要动态范围控制或动态均衡，只需为该频段启用压缩器即可。
14.MH 多频段扩展器
多频段扩展器是一款处理器，能够以频率敏感的方式管理、抑制和控制音轨中的噪声。
三频段相位一致分频网络将音频信号分流到三个独立的扩展器，您可以配置这些扩展器，以平滑地抑制低于指定阈值的噪声。您还可以配置这些扩展器，通过抑制音量较小的元素来改变节奏模式的感觉——所有这些都以频率敏感的方式进行。
多频段扩展器采用 SpectraFoo™ 频谱分析功能，让您能够快速、自信地精确定位分频点和阈值。
扩展器的多频段功能对于控制吉他音轨中的噪声和嗡嗡声非常有用，因为您可以比处理所需信号更积极地处理噪声。
虽然多频段扩展器可能并非每个混音的必备工具，但当您需要它时，它绝对能帮您解决问题！
15. MH Precision DeEsser
Precision DeEsser 是一款插件，可用于处理音轨并去除过多的高频成分。它结合了 ChannelStrip 的高精度滤波器技术和动态处理功能，以及 SpectraFoo 的计量和分析功能，使您能够精准定位并快速高效地校正异常频率。
Precision DeEsser 具有全面的监听控制功能，让您可以准确地听到哪些频率正在被去除（或未被去除）；您可以选择处理链中的五个不同点进行监听。与所有 Metric Halo 插件一样，所有参数均可完全自动化，让您在混音过程中完全掌控处理过程。
Precision DeEsser 是人声音轨的必备工具，但也可用于声音设计和其他音频处理。
16. MH Sonic EQ
Sonic EQ 是经典的数字母带均衡器。现在首次推出 64 位版本！
MH Sonic EQ 是 James A. Moorer 博士为 Lucasfilm 的 SoundDroid 项目开发的原始 Sonic EQ 的现代版本，并在 90 年代和 2000 年代初扩展应用于 Sonic Solutions 的母带处理 DAW 软件。
2007 年，Sonic EQ 经过重新开发和增强，以适配 Metric Halo 设计的 Sonic Studio 30x 音频接口。Sonic Studio 30x 版本的 Sonic EQ 回归了最初的设计理念，更新了用户界面和引擎。
如今，MH Sonic EQ 是一款 6 段全参数均衡器，每个频段均支持 2 阶至 8 阶滤波器，采用更新的低噪声 64 位状态空间均衡器结构，并保留了 Sonic EQ 的核心系数。
17. MH SuperGate
SuperGate 内部蕴藏着一些神奇的秘密。这款插件让一些原本毫无用处的鼓组音轨焕发了新生。
终于，一款真正能履行门限器职责的门限器出现了……
首先，音频门限器的作用是让目标音频事件不受影响地通过，只衰减不需要的信号。
在 SuperGate 中，与其他门限器一样，你需要完成两项任务：找到并隔离目标声音，以及确定何时触发门限。
与其他门限器不同的是，SuperGate 允许你在聆听的同时，通过我们专门设计的 WYSIWYG 检测器显示界面，精确地根据你要隔离的声音自定义门限的起音和释放增益曲线。
此外，你创建的门限曲线并非作为一组动态扩展器参数应用，而是通过一组逐个采样点的指令来定义起音-保持-释放门限包络的增益结构和持续时间。当播放过程中达到触发点时，这组指令会修改描述目标声音的采样，从而应用门限。
以这种方式应用增益曲线可以完全避免混叠失真、用于校正混叠失真的插值步骤，以及会降低增益过渡效果的调制和模糊效应。
使用处理器时，这种方法的听觉优势会立即显现。门限的开启和关闭曲线可以完美地重复应用，就像在触发点处复制/粘贴到音频流上一样（实际上也正是如此），并且每个音频事件中所有赋予声音感觉和个性的细微变化都可以完全不受影响地通过门限。
18. MH TransientControl
TransientControl 是一款插件，它允许您以传统压缩器无法实现的方式修改动态。您可以直接更改音频的瞬态（“起音”）和延音；这使您可以使音轨更有冲击力，或使其更柔和，从而更好地融入混音。
TransientControl 的用户界面包含三种视图：
基本视图：提供对瞬态、延音和增益控制以及输入电平表的访问。
基本视图（带处理电平表）：与基本视图相同，但增加了一个电平表，用于显示插件的活动状态。
高级视图（带处理电平表）：此视图增加了对瞬态和延音检测器的高级控制的访问。
TransientControl 不是压缩器，而是一种新型的动态控制插件。它允许您基于复杂的包络检测器（而非电平）来调整信号的瞬态和延音。TransientControl 可以帮助您在不增加整体电平的情况下增强军鼓的“清脆感”，或者减弱贝斯音轨的拨片力度，使其更加平滑。
TransientControl 独特的用户界面为您提供了三个级别的控制，从基本的“增强/减弱”旋钮到对包络检测器的完全微调，以实现精确控制或特殊效果。
19. Sontec MES-432D9D
Sontec MES-432 在母带工程师中享有近乎传奇般的声誉。它于 1972 年问世，由 Burgess Macneal 和 George Massenburg 共同设计，是首款全参数均衡器。除了强大的功能外，它更因其音质而备受推崇——即使所有控制旋钮都设置为“平直”，它也能显著提升声音的品质。此外，参数值的选择、均衡频段的形状以及设备的整体响应速度，赋予了 MES-432 独特的音乐性。
当 Make Believe Studios 找到我们，表示他们和 Sontec 希望与我们合作，共同打造 Sontec MES-432D9 的数字版本时，我们心想，既然要尝试捕捉现有设备的精髓，那么至少选择一款开创性的传奇母带均衡器是合情合理的。
当我们聆听 Sontec 提供给我们的 MES-432D9 时，我们意识到这款设备是你在主流唱片中听到的那种神奇的“仙尘”的来源，我们决定，如果我们要构建它的数字版本，它就不能仅仅是一个模拟，而应该是一个全新的 Sontec——一个原创参数均衡器的创造者会乐于将自己的名字与之联系起来的产品。
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The Essential Toolset used by Grammy® Award-Winning Engineers and #1 Hit Makers the World Over!
The Metric Halo Plugins Bundle v4 is a suite of signal processing plug-ins that let you stop recording and start making records. With all the critical tools you need to shape, tame, manipulate, and master your tracks, it is the essential audio engineering toolset that no one should be without.
MH ChannelStrip
Legendary channel strip processing for all DAWs
MH Sonic EQ
The Original Digital Mastering EQ
Legendary Sound, Precision and Versatility
MH SuperGate
Finally, a gate that actually does what a gate was always supposed to do…
MH Dirty Delay
Gritty, Musical Feedback Delay
MH Character
A bucket full of old school goodness…..
MH HaloVerb
Create your perfect space
MH Multiband Dynamics
Sometimes the best EQ is a compressor
MH Multiband Expander
Expand your horizons
MH TransientControl
Sophisticated Transient Modifier & Waveshaper
MH Precision De-Esser
A Surgical Strike On Stubborn Sibilance
Include:
1. CGII
2. MB MixHead
3. MB TMPC
4. MB White Room
5. MBDBVerb
6. Make Believe Bundle
7. MBSI
8. MELD
9. MH ChannelStrip
10.MH Character
11.MH Dirty Delay
12.MH HaloVerb
13.MH Multiband Dynamics
14.MH Multiband Expander
15.MH Precision DeEsser
16.MH Sonic EQ
17.MH SuperGate
18.MH TransientControl
19.Sontec MES-432D9D
1. CGII
The result of the collaboration is CGII – a mastering dynamics finishing toolkit.
CGII is comprised of two uniquely complementary dynamics enhancement sections, a new True Peak Limiting stage, DC blocking and dither with LUFS/true peak metering via spiffy tube filament displays, all operating at up to 16x over-sampling (or none at all – depending on your tastes).
The design prioritizes musical integrity and ease of use, with the ability to add effective loudness, weight and definition without diminishing spatial depth and visceral impact the way traditional dynamics processors often do.
Use CGII to make your masters loud without losing the clarity, density and heft of the original mix. Even if you are working with a mix that is already loud, you can give it a little extra, without adding unpleasant distortion and without flattening out the material and sucking the life out of the low end. At the same time you can control the true-peak level of the program to ensure that there are no inter-sample overs.
We’ve also included dither, a DC-block filter and complete LUFS/True Peak metering so that you can place CGII at the end of your master chain as a one-stop shop for final processing.
While CGII’s original spec was to make things good & loud simultaneously, you will find that it is wonderful in a variety places in your mixing and processing chain.
Use the Loudness processor to excite harmonics. Use the Density processor to bring up the bloom and raise low-level clarity without affecting transients. Or simply put the incredibly transparent true-peak lookahead limit any place you need it.
Features:
World-class Signal Processing and Workflow.
User-Selectable Over-sampling (up to 16x).
Density process effectively increases perceived program level by pushing up previously masked detail without affecting higher level peak dynamics.
Loudness process gives you transparent increase in RMS level while maintaining peak levels below full-scale.
True Peak Limiter transparently controls output levels, ensuring that the true-peak level never exceeds the specified ceiling.
DC-block filter removes any residual DC offset.
Dither allows you to dither the output to 16 through 24-bits.
Nixie Tubes provide dB readout of any of the user-selectable meter values (LUFS Integrated, LUFS Short Term (or Hold), LUFS Momentary (or Hold), True Peak or TP Hold).
Many presets included.
Adjustable UI size.
MH Preset Manager – Provides cross-platform presets.
2. MB MixHead
Q: What happens when Audio Archeologist Rick Carson sleuths out an unacknowledged key component of Serban Ghenea’s mixing master bus process chain (ironically prompted by the photo of Serban in the original ChannelStrip interview he did with Metric Halo)?
A: Metric Halo and Make Believe determine how to recreate the process from scratch, and then send it to Serban to see if it does “the thing” that originally caused him to use it on his bus. Serban tells us that it does “the thing,” asks us to add a couple more features, and switches to using MixHead.
The new features that were asked for and added:
A new 3.75 IPS model with more grit
Support for sample rates up to 192k
Support for offline bounce
Support for multi-mono to enable Atmos mixing
Serban graciously contributed a Preset that provides the settings that he most often used with the original device. That preset is included with MixHead.
As MixHead is a plugin, unlike the device you get full session setting recall, so you can fearlessly experiment with different settings knowing that recall is built in.
MixHead is a processor that emulates an emulation of tape. It is not intended as a faithful simulation of tape; for example there is no head-bump and it does not have parameters for things like tape formulation. Rather, it captures some of the key elements of the excitement that tape brings to the recording process without many of its downsides.
It adds saturation and glue, making disparate elements across the audio spectrum jell together and “sit” in a mix, without dulling the high end or causing the audio to lose its transient response.
3. MB TMPC
To build TMPC, we captured and lovingly modeled the unique signal path character of Terrace Martin’s MPC3000.
Terrace is an 8 time Grammy-nominated multi-instrumentalist, rapper, singer, and record producer known for his work with Kendrick Lamar, Herbie Hancock, Snoop Dogg, Stevie Wonder, the Game, Busta Rhymes, Charlie Wilson, Raphael Saadiq and YG as well as his own Grammy-nominated productions.
He has made the MPC a key part of his production process. This device has long been valued for its distinctive 16-bit converter sound, which imparts a unique character and impact often described as “knock” to drums and samples.
Designed for songwriters, producers, musicians, beat makers, multi-instrumentalist and anyone who wants to take a Jazz song and turn it into Hip Hop. Easily add that hip hop knock and finely controllable layered distortion and character to everything from drums, bass, to vocals, as if it was sampled that way right at the source.
4. MB White Room
Dialing in the perfect reverb can be tedious and time consuming — a reality most engineers and producers know all too well…
That all changes now!!
Introducing MB White Room, the brainchild of Detroit Producer Jake Bass (of the legendary Bass Brothers Lineage and F.B.T. Studios).
Created in collaboration with Make Believe Studios and Metric Halo, MB White Room captures the inspiration behind a classic digital reverb sound that became closely associated with landmark hip-hop records of the late 90’s and early 2000’s including productions from artists and producers such as Eminem, Dr. Dre and F.B.T!! (And Brad Paisley!)
Designed to capture that deep, polished sense of space, MB White Room brings clarity and character to vocals, drums, guitars and more.
Its streamlined design keeps the focus on music not menus with just three essential controls: Mix, Pre-Delay, and Length… allowing you to dial in great results in seconds!!
5. MBDBVerb
Over his long career, multi-platinum award-winning Super Producer / Engineer David Bendeth has developed an amazing workflow to blend multiple reverbs applied to a channel or a bus for a layered and nuanced sound.
What happens when you take that workflow and wrap it around a custom reverb engine that provides the key reverb patches that he has dialed in and used on the classic recordings he is known for?
DBVerb replicates 12 of David’s favorite reverb patches.
The plug-in also implements his signature workflow for dialing in the perfect reverb by putting 4 different reverbs in parallel, each with a dedicated fader to allow you to quickly blend the contribution of each verb into the overall response.
It is fast and fun to use and allows you to dial in a perfect reverb sound without spending hours scrolling through patches and parameters. It is easy to get a great sound, and virtually impossible to create a bad setting.
Each reverb strip allows you to select from 3 different reverb patches.
Solo and Cut controls on each strip allow you to easily audition the individual contributions without changing the balances.
The plug-in also includes post-reverb High Pass Filter and High Shelf EQ, and an overall pre-delay control, which allows you to increase or decrease the pre-delay of the reverb relative to David’s settings.
The integrated gain compensated Wet/Dry control lets you dial the perfect blend of the direct and reverb sound, or simply set the plug-in to 100% wet for use on an aux fader in your mix.
Finally, each reverb strip also includes a length control that shortens the reverb tail for the associated reverb – allowing you to dry up the verb, if needed, or even dial in a fantastic gated reverb sound, without suffering any chattering or level dependent effects.
6. Make Believe Bundle
Include:
1.SPRES
2.Kevin’s Limiter
3.Good Math
4.Parallel Process 1 – Parallel Process 2 – Parallel Process 3&4
5.MBEQ
1.SPRES:
Now you can officially get your hands on the Impulse that changed heavy guitars forever.
SPRES is an awesome, zero-latency guitar cabinet emulator with two blendable IRs + custom tuning and nonlinearities. This processor, developed by Ryan Harvey (the creator of the legendary S-PRES guitar cabinet impulse response and Chief Engineer at Make Believe Studios), and Metric Halo, is composed of a zero-latency IR player running the classic SPRES IR and a brand-new SPRES2 IR, coupled with hand-tuned post-eq, cabinet blending, and speaker non-linearities.
This plug-in also includes a new impulse designed by Ryan Harvey and Antonio D’Aquino to compliment the original in the best of ways!
2.Kevin’s Limiter:
With settings designed by Kevin Mccombs (A Day to Remember, Sueco, Papa Roach, Dreamers, 5 Seconds of Summer, The Devil Wears Prada), Kevin’s Limiter is a particularly versatile fixed function limiter.
3.Good Math:
Good Math is a technique that I have utilized for years. Call it a gain stage, call it a clipper, hell call it a rounding error (probably the closest description I’ve heard). Do the three different numbers sound different? Maybe? Is using 1db on each better than using 3db on any of them themselves? Maybe!?
4.Parallel Process：
The Parallel Processor plug-ins are based on techniques that Rick Carson has been using on his SSL console for years. Each plugin was designed to be used on specific instruments ranging from vocal, percussion, and mid range instruments like guitar, synth, or strings. Whether you’re using Parallel Process 1 & 2 for the intended use or if you feel like putting it on the vocal and listen to it pop out of the speakers.
No longer will you need to spend your nights trolling through 15 year old forum posts to get the sound you are looking for. Every single parallel plugin is a tried and true trick that we have boiled down in the easiest to use package possible. No need for esoteric gear and no need to learn advanced routing techniques, just turn it up and feel good.
5.MBEQ：
The MBEQ is a lot of fun once you start wrapping your head around the quick keys. Particularly the three finger click mode (control, option, command + click). This allows you to play the plug-in like an instrument. Or you can just drag the dots around until things sound better. How deep you’d like to go is entirely up to you.
This is where we first implemented the soul stealing idea which can be found in the sauce. The soul inside MBEQ was sampled from our vintage Pye-tvt console which was a OEM BBC design.
It’s like a big British 60’s eq tone wise when sauce is on, and when it’s off it’s very much like a new take on the Metric Halo’s channel strip; one of the world’s most widely used third party plugins.
7. MBSI
A Modern Classic
MBSI is a loving and faithful recreation of one of the most successful custom built consoles in the United States.
Custom built by the technicians at MCI for studio C at Criteria Studios, Miami FL, this console was used in the production of dozens of hit records that sold millions of copies.
Artists such as Eagles, Eric Clapton, the Bee Gees, and Grand Funk Railroad chose this room and this Console to work with some of the world’s best producers including Tom Dowd and the legendary Bill Szymczyk.
We teamed up with Make Believe and Bill Szymczyk to bring this legendary console to your DAW for the first time.
Experience the sound of Miami 1976 now.
MBSI is a faithful model of the channel strip from the Criteria Studio C Custom MCI console. It features a mic/line section, a dynamics section, an EQ section and a fader as well as an accurate model of the stereo bus output of the console.
The original console was ruthlessly analog with a wonderful box tone imprinted just by running through the channel, and, like many devices of its time, was quirky and awesome. You will find (just like we did) that the markings on the face plate do not match the actual behavior of the processor.
The EQ module is especially sweet. It featured a simple design with limited components, utilizing the inherent characteristics of the components to achieve equalization. This means that all the controls interact, and that things like the Q of the filters change with gain and frequency.
This may seem (especially in modern times) to be a defect or challenge in use, but just like the console, MBSI pushes you into making good decisions based on what you are hearing and its limited yet musical range of options.
The dynamics section of the original console was a Suppressor meant to be used with analog tape, which is not that useful in a modern production context. The controls of the console were stepped. The mid-band of the EQ section was limited to boost only, and the filter section only supported low or high cut. In other words, the console was limited by the technology and design of the time.
In our discussions with Bill and based upon feedback from our beta testers, we determined that while we want to have a faithful reproduction of the original console’s channel strip (“Classic” Mode), it would be great to have a mode that reflected a more modern workflow and represented the mods we would do to the console if we were updating it, so we added a “Modern” mode.
In Modern Mode, MBSI swaps in a channel compressor that reflects the types of external compression that Bill used with the console, and makes it so that the controls operate continuously (while still maintaining the ability to snap to the original stepped control values). We also added mods to allow you to do cuts with the mid-band, and enable both the high cut and low cut filters at the same time.
MBSI captures the sound of the Seventies – and now you can too!
8. MELD
For three decades, John Hanes has been an instrumental force in shaping the sound of modern music from the helm of the world-renowned MixStar Studios. Through our landmark collaboration, MELD now provides unprecedented access to his expertise.
We worked directly with John to deconstruct and meticulously model the modern and cutting-edge immersive workflows he has perfected at the industry’s highest level.
MELD is more than a product; it’s a direct line to a master’s process.
MELD provides a comprehensive signal chain for your ATMOS and stereo mix processing:
12-band fully parametric EQ with Analyzer
Compressor
Limiter
Loudness/Clipping processor
MixHead tape saturation processor
All of the process blocks are dynamically reorderable and groupable across any number of instances.
MELD is the answer to the problem of building a cohesive music mix in ATMOS. It was created to solve the key issue that John Hanes was encountering while building immersive ATMOS mixes to match stereo mix masters.
In ATMOS immersive mixes, channels are mixed to beds and objects.
A bed is a multichannel bus or stem, and may be processed similarly to how a stereo bus is processed (as long as you have multichannel capable tools – which MELD provides).
Objects, which are required for immersive overhead panning, are panned by the renderer – which means they must be delivered discretely. Simply put, with ATMOS objects, when you are processing audio that conceptually forms a bus, the bus you are creating is virtual (as there is never a sum available in the mix environment).
With a virtual bus there is no place to apply bus processing, which is a key technique in building proper music mixes for pop and rock.
MELD elegantly and quickly solves this problem. It turns out that solving these problems in ATMOS mixes yields great benefits for stereo mixes as well.
When you insert MELD into a session, every instance is aware of all the other instances. You can access any channel directly from within the MELD UI – no need to navigate your mix from the host DAW – everything (including Solo, Mute, Metering and grouping) is at your fingertips within the MELD UI.
MELD has 26 virtual busses (groups); any instance can be added to a group. All instances in a group share the same processor settings. This allows you to apply the same processing to many channels – same as you would if you bussed them together and applied the processing on the bus. But each channel is still available discretely to be sent to objects or processed further.
MELD also allows you to manage the detector sidechain for the dynamics processing blocks (Compressor and Limiter) in a group. This lets you key channels within a group or from any other channel or bus that has a MELD instance – all without having to manage complex routing within the host. The default shared-sidechain routing for groups allows you to achieve bus-compression for channels routed to objects.
MELD also provides exciting new tricks that are unavailable in traditional bus-processing workflows; since the channels that are part of the bus are still available discretely after processing, you can adjust levels and EQ post-bus compression – whether or not you plan to send the channels to objects or simply submix them back to a stereo bus or a multichannel bed.
9. MH ChannelStrip
For over 25 years, Metric Halo’s ChannelStrip has been an integral part of the sound of myriad Grammy-award winning, Gold and Platinum records, hit TV shows and blockbuster movies. ChannelStrip has been the critical tool for getting “the sound” quickly for thousands of professional recording engineers, composers and musicians world-wide.
As a signal processing bundle ChannelStrip integrates everything you need to process the channels that make up a mix as well as process the entire mix bus.
Featuring an Expander, Compressor, multi-band EQ, and a limiter, ChannelStrip provides a unified interface for processing your tracks. It also includes phase invert, channel delay, comprehensive metering and SpectraFoo™ spectrum analysis – so you can see your audio as well as you can hear it.
10.MH Character
Character is a plug-in that lets you add the luscious distortion characteristics of classic analog circuits to your source tracks.
To create Character we asked top flight tracking, mixing and mastering engineers to send us their favorite analog hardware; the mic pres, DIs and EQs that they used for recording, mixing and mastering. We then used SpectraFoo to measure the ways that these processors add lovely, gooey analog distortion to the sound run through them and modeled this distortion using our proprietary +DSP technology.
Character provides 24 different models, incorporating the sound of tubes, transformers and solid state devices. Character has a Drive control (and autodrive) to allow you to push the distortion even harder for over-the-top sound mangling.
11.MH Dirty Delay
MH Dirty Delay is a fantastic-sounding feedback delay processor with integrated Character and Filters in the delay path. Use it to create awesome vintage echo and tape-delay style sounds as well as create lush and subtle spaces in a mix
Not just a musical feedback delay, MH Dirty Delay is something special. With integrated Filters and Character in the feedback path, you can make it clean or dirty, vintage or futuristic, subtle or nasty.
With dual delay lines, crossfeed, feedback and distortion control, Dirty Delay is capable of creating extraordinarily rich and complex textures and patterns from your audio. Dirty Delay adds texture and movement without the veiling and darkening of the sound that is often associated with feedback delays.
12.MH HaloVerb
HaloVerb is a reverb processor that allows you to add ambience and depth to your recordings.
Based on the original HaloVerb hardware implementation for Metric Halo interfaces, the HaloVerb plug-in expands on the great algorithmic sound to give you more flexibilty and control.
Use the reverb impulse to see the reverberant field as you make adjustments, or hide the graphics and let your ears be your guide.
Use HaloVerb to add subtle ambience or generate the sound of a vintage echo chamber – the extensive presets and easy to use UI let you dial in the sound you want quickly.
13.MH Multiband Dynamics
Multiband Dynamics is a processor that allows you to add clarity, warmth and punch to your mix.
Multiband Dynamics shapes timbral quality of your audio by running it through a three-band crossover, and providing independent compression in each frequency range before summing the result through a limiter. Without compression, you can broadly shape the timbre of your tracks, and if you need dynamic range control or dynamic EQ, simply enable the compressor for the band.
14.MH Multiband Expander
Multiband Expander is a processor to manage, suppress and control noise in your tracks in a frequency-sensitive way.
The 3-band phase-coherent crossover network directs the audio to three independent expanders that you configure to smoothly suppress noise below the threshold you specify. The expanders can also be configured to change the feel of rhythmic patterns by suppressing elements that are played more softly – all in a frequency-sensitive way.
Multiband Expander features SpectraFoo™ spectral analysis to allow you to zero-in on crossover points and thresholds quickly and with confidence.
The Multiband feature of the expander is extremely useful for controlling noise and hum in guitar tracks, as you can attack the noise more aggressively than the desired signal.
While Multiband Expander may not be an essential tool for every mix, when you need it, it will really save the day!
15.MH Precision DeEsser
Precision DeEsser is a plug-in that allows you to manipulate your tracks and remove excessive high frequency content. It combines the high precision filter technology and dynamics processing of ChannelStrip with the metering and analysis of SpectraFoo to allow you to zero in on offending frequencies and correct them quickly and efficiently.
Precision DeEsser features comprehensive listening controls to allow you to hear exactly what is (or isn’t) being removed; you may choose five different points in the processing chain to monitor. As with all Metric Halo plug-ins, parameters are fully automatable to give you full control of the processing during mixdown.
The Precision DeEsser is an essential tool for vocal tracks, but can also be used for sound design and other audio processing.
16.MH Sonic EQ
Sonic EQ is the Original Digital Mastering EQ. Now available for your 64-bit DAW for the first time!
MH Sonic EQ is an modern version of the original Sonic EQ developed by Dr. James A. Moorer for Lucasfilm’s SoundDroid project, and then expanded for the Sonic Solutions mastering DAWs in the ’90’s and early 2000’s.
In 2007 Sonic EQ was re-created and enhanced for the Metric Halo-designed Sonic Studio 30x Interfaces. The Sonic Studio 30x version of Sonic EQ went back to first principals, updating the UI and engine.
MH Sonic EQ today is a 6-band fully parametric equalizer in which every band in the EQ supports 2nd to 8th order filters using an updated, low-noise 64-bit state-space EQ structure with the core Sonic EQ coefficients.
17.MH SuperGate
SuperGate has some black magic under the hood. Some of the most useless drum tracks have been given a new life with this plugin.
Finally, a gate that actually does what a gate was always supposed to do…
First and foremost, the job of an audio gate is to let the target audio events through unaffected, and only attenuate the unwanted signal.
In SuperGate, like any other gate, you have two jobs: find and isolate the target sound, and determine when to trigger the gate.
Unlike other gates, SuperGate lets you customize the gate attack and release gain curves precisely to the sound you are isolating, as you listen, while visually referencing our specialized WYSIWYG detector display.
Further, the gate curve you build is not applied as a set of dynamic expander parameters, but a programmed set of sample-by-sample instructions defining the gain structure and duration of the Attack-Hold-Release gate envelope itself. When the trigger point is reached during playback, this set of instructions modifies the samples describing the target sound, thereby applying the gate.
Applying the gain curves in this way completely avoids aliasing artifacts, the interpolation stages required to correct for them, and the modulation and smearing effects that degrade the gain transition.
The audible advantage of this approach is immediately apparent as you work with the processor. The Open and Close gate curves are applied with perfect repeatability as if they were copy/pasted onto the audio stream at the trigger point (which is in fact exactly the case), and all the minute variations of each audio event which provide feel and personality can come through the gate completely untouched.
18.MH TransientControl
TransientControl is a plug-in that allows you to modify dynamics in ways that aren’t possible with traditional compressors. You can directly change the transient (“attack”) and sustain of your audio; this allows you to make your tracks more punchy, or smooth them out so they sit in a mix.
TransientControl features a UI with 3 views:
Basic: Provides access to the Transient, Sustain and Gain controls as well as the input meter.
Basic w/Process Meter: As above, with the addition of a meter that allows you to see the activity of the plug-in.
Advanced w/Process Meter: This view adds access to the advanced controls of the transient and sustain detectors.
TransientControl is not a compressor, but is a new class of dynamics control. It allows you to adjust the transient and sustain of your signal based on sophisticated envelope detectors, instead of level. TransientControl can help you raise the “snap” of a snare hit without increasing the overall level, or tone down the pick attack of a bass track to smooth it out.
TransientControl’s unique user interface gives you three levels of control, from basic “more/less” knobs to complete tweak-ability of the envelope detectors for exact control or special effects.
19.Sontec MES-432D9D
The Sontec MES-432 has a near mythical reputation among mastering engineers. Introduced in 1972, it was created by Burgess Macneal and George Massenburg, and it was the first fully parametric EQ ever available. Beyond its functional utility it is prized for its sound – it is one of those devices that makes things sound better even when its controls are set to flat. In addition, the parameter value choices coupled with the EQ band shapes and overall responsiveness of the device gives the MES-432 a uniquely musical response.
When Make Believe Studios came to us and said that they & Sontec wanted to work with us to make a digital version of the Sontec MES-432D9, we thought, well, if we are going to try to capture the soul of an existing piece of gear, at least it makes sense for it to be a pioneering and legendary mastering EQ.
When we listened to the MES-432D9 that Sontec provided to us, we realized that this device was the source of some of that magical “fairy-dust” that you hear on major releases, and we determined that if we were going to build the digital version of it, it would have to not merely be an emulation, but rather a new Sontec – one that the creator of the original parametric EQ would be happy to associate his name with.
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