PSP MasterComp

[Cryogenic]

Oh - I think I understand your position now. What have you found after trying the demo - in your own words or something downloadable that describes your findings?

This is what i ask YOU lot for. Something downloadable, to backup your audiobabble.

[kylen]

Oh - I think I understand your position now. What have you found after trying the demo - in your own words or something downloadable that describes your findings?

This is what i ask YOU lot for. Something downloadable, to backup your audiobabble.

You have to read the posts and try out the demos for yourself using the setting folks mention on your own audio. Why don't you share something that you consider to be worthy and put us all to shame since you think you're so smart!

[MidgeUre&MikeLove]

Wow - I don't post here much, but I really had to chime in. It is hard to evaluate such a static demo, but it is obvious to my ears that the compressor quality is to die for. What do I mean: the multitudes of fine detail and transparency in the sound. Finally, a real compressor, and better than anything TDM or RTAS (very initial comparison) we have heard. As for VW, it is not so transparent (I agree), and is best used as an effect. But the real PSP gem will always be the Mix Saturator. No eq or compressor (or even Tape Bus plugin) can even come close to what Mix Sat can do. If you ran clean signal through a rack of vintage 1073's, and then laid stereo completely onto 2" high domain 5 times in a row (minus the noise, of course), then you might have something akin to mix sat. Big big sound.

Hi PSP!

Nope, I have never even met anyone at PSP. I am a fan, so maybe my *OPINION* is somewhat biased? One thing for sure - I am not some Northern European anti-social miserable fuc\< backstabbing, freaky looking blonde. Neither am I some German contrarian who disagrees with everyone. Now, back to MasterComp>

This thing amazes me, and it has little to do with the FAT mode, per se. Leave it off if you don't need it. It is the way the compression is handled. How the compressor seems to have such fine sensitivity and nuance for the low signal level within the mix. Yes, transients. Its less like your typical high quality compressor, and more like ghost hands delicately moving many sliders on a big board. There is something truly artistic happening here – it almost seems as if different frequencies and amplitudes have differing release times (and I know this shouldn’t be so). Am I onto something here? I suppose the mastering stage needn’t be just about consistency, normalization, and maximization. Some of the expansion sounds less like a simple ramp or curve, but more like a complex evolution or unfolding (like a flower opening or the envelope of a bomb gently bursting - if that makes any sense). Please tell me I am not hearing things here.

[;-)]

So what?
Is that plugin now nice sounding or not?

I found it quite impressive what the demo does. Even to already mastered tracks, by the way ...

I am glad to see there is a company continuing with such great plugins. The easieness and the "magic" of those tools impress me each time.

Rather than the plugins of a certain competitor with the first letter "V" in the name, being prised (and self-advertized) here all the time ...

PSP is the absolute King!
They get my money. Blindly recently.

(And they don't need to do excessive crappy spamming here. Listening to their tools is all you need to do.)

.

[gambaytheunspoken]

Kilroy wrote, [it]"

seems to work fairly unobtrusively over a reasonably broad range of settings. And that is good news...because you are not given the option of defeating it. And that I think is too bad, especially for a mastering tool...because there goes a couple of useful controls you would otherwise have had for creative texturing

." Am I missing something, or are these series of sentences logically skewed? Please clarify, for I have read them over and over again and they just don't square. First it's good, then it's bad? Which is it?
Ciao

[bmanic]

I like this PSP master compressor a lot. Been playing with the new demo a while now and I've yet to find a situation where it doesn't work. Too bad it's got that enormous CPU usage but it's only a matter of time until the computer speeds catch up and we can start using this compressor on multiple sources within a mix. Until then I'll keep my credit card in the wallet (got too friggin many compressors already anyhow!).

Cheers!
bManic

[kilroy]

Kilroy wrote, [it]"

seems to work fairly unobtrusively over a reasonably broad range of settings. And that is good news...because you are not given the option of defeating it. And that I think is too bad, especially for a mastering tool...because there goes a couple of useful controls you would otherwise have had for creative texturing

." Am I missing something, or are these series of sentences logically skewed? Please clarify, for I have read them over and over again and they just don't square. First it's good, then it's bad? Which is it?
Ciao

Erm...

Now then, I'm not a big fan of these adaptive attack/release designs, but this is probably the best adaptive attack/release implementation I have heard...it seems to work fairly unobtrusively over a reasonably broad range of settings. And that is good news...because you are not given the option of defeating it.

As in, you can't defeat the adaptive attack/release controls. Which I think...

...is too bad, especially for a mastering tool...because there goes a couple of useful controls you would otherwise have had for creative texturing.

As in, I rather favour the option of having user adjustable attack and release times regardless of whether or not there is automatic adaptive attack/release functions available.

Also, note that I am referring to Polysquasher. PSP's Master Comp adaptive controls can be defeated if you wish.

[;-)]

Erm...
The PSP tool is not an "design processor" for the "Sound Picassos" of you. It is a mastering processor (hence the name).

And if you ever have seen real mastering gear, you would know that those mostly have merely some few but important knobs and some heavy inbuilt intelligence - so that you don't need to tweak them all days long.

.

[egbert]

Erm...
The PSP tool is not an "design processor" for the "Sound Picassos" of you. It is a mastering processor (hence the name)..

Hi Winky,
PSP acknowledge that this compressor is also useable as a track and bus compressor. If it sounds good why not use it?

Eg

[;-)]

Erm...
The PSP tool is not an "design processor" for the "Sound Picassos" of you. It is a mastering processor (hence the name)..

Hi Winky,
PSP acknowledge that this compressor is also useable as a track and bus compressor. If it sounds good why not use it?

Eg

Absolutely right!

My comment was for the dudes, wining so moch about the missing controls for super duuper micro surgical audio editing...

Their motto: A machine with so fiew knobs cannot be any good. We need most complex editing mechanisms and thousand ways for doing it wrong. Otherwise it must be crap.

.

[fritzman]

I checked the new demo,

I'm absolutely unimpressed. Not my thing. I don't like it.


Best wishes, FRitz

[bmanic]

Their motto: A machine with so fiew knobs cannot be any good. We need most complex editing mechanisms and thousand ways for doing it wrong. Otherwise it must be crap.

.

You keep taking everybody's comments to extremes don't you? Read Kilroy's post again and you'd notice that he was really impressed by the PSP Compressor. Oh, and maybe you all failed to grasp that in the later post where that 'issue' about the controls came up, was a REVIEW of VOXENGO POLYSQUASHER. Got it? Got it now? Read again.. read and.. and.. behave for fcuks sake!

- bManic

[egbert]

I checked the new demo,

I'm absolutely unimpressed.

OK.

Not my thing.

Uh huh.

I don't like it.

I think we got that the first time.

[MidgeUre&MikeLove]

There are people who only eat at Burger King. Then there are those who eat at family restaurants. There are those who only like to eat "gourmet". There are very few individual restaurants that are far beyond gourmet - little known establishments with eccentric cooks that come up with really creative fare.. Not really gourmet - something far better. You taste for what the ingredients are, and it is hard to tell where one flavor is coming, and another going. You can't pin anything down. The chef is usually somewhat bi-polar, sometimes a bit off (but still great), but when he's inspired, it is to die for.

Those who flat out do not like MasterComp, probably like to eat at Burger King, I imagine. Those who see its magic probably would appreciate the beyond gourmet restaurant with the eccentric, mentally unstable chef.

It really doesn't matter what some plain Joe's say here - I have paranoid dog ears, and hear everything. MasterComp is one of the most amazing tools I have ever heard. And I will restate from earlier, I have not heard anything TDM or RTAS come remotely close, even mcdsp. To me (unlike others), a lot of the magic can be in the auto settings.

To me (subjectively), the MasterComp can impart the feeling that the track/song is temporally slowing and speeding up during its duration - yet its not. You will hear this ebbing and flowing on really big productions (REM- Man in the Moon, Midnight Oil - Forgotten Years), just to name a couple. It is due to the envelopes within the greater envelope (attack/release) from what I can tell by initial analysis. There are far more dynamics going on than the simple controls would lead you to believe. There are those who honestly won’t like this tool, and would also shy away from anything slightly different than Burger King. These people might only like Hip Hop or Brittany Spears. Than there are those who might really get inspired by sophisticated pop, and big BIG studio productions that are intricate works of art. Those are the people Master Comp will appeal to. Not to the Brittany Spears, Hip Hop Burger King croud.

[nuffink]

Phew!