The Comp Mix knob dials the dry signal back in alongside its compressed counterpart for parallel processing, or bypasses the compression altogether. However, there are a few other tweaks that can be made if required.
The dynamics-shaping processes going on within bx_masterdesk are set up and calibrated so that you should rarely need to reach beyond the Volume, Foundation and Tone controls to get your master sounding loud and consistent.
The coverage is very much as expected, though, with quite a bit of crossover between bands for ‘musical’ EQing. In the interest of keeping the interface as unintimidating and ‘muso-friendly’ as possible, the EQ looks like a guitar amp tone stack, and the centre/corner frequencies of each band aren’t specified. This enables up to 3dB of cut or boost to be applied to Bass and Treble bands, and a broad mid-range bell filter and up to 6dB of cut/ boost (with a contrary boost/cut in the high- mids) to the high-frequency Presence band. Next comes the Tone section, home to a four- band EQ. You can raise or lower the volume as per requirements to keep the needle in the green range (between 6 and 8dB), and you can pretty much rest assured that your track is safely within established ‘loudness norms’. The quietly ingenious Dynamic Range VU meter allows you to visually monitor the loudness level in easy-to-understand terms by describing the difference between peak and RMS levels at any given moment (the crest factor). The first thing to do is set the input gain into the compressor at the start of the chain using the big Volume knob. ’Desk jobīx_masterdesk emulates an analogue mastering chain, comprising compression, bass enhancement and general EQ, THD saturation, de-essing, limiting and stereo manipulation. Ulrich reckons “many people are overthinking the mastering process”, and to that end, his new plugin (VST/AU/AAX) provides a complete system for quick and easy mastering, via a stripped-back control set that governs a far more complex array of under-the-hood algorithms and processes.
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