The former are usually tackled using a conventional compressor, while there are various approaches to dealing with transients.
Making a mix louder usually involves both ironing out 'macro', or medium‑ to large‑scale dynamic contrasts - such as the gulf in level between a quiet verse and a busy chorus, or between a loud snare hit and the space after it - and taming 'micro‑dynamics', the momentary peaks that are often known as transients. Like it or not, we have to make our masters loud and, that being the case, we might as well do so in the way that causes least possible damage. But at the end of the day, we have to pay the bills, and it's a rare client who is happy to have his or her master half as loud as commercial releases in the same genre.
We can point out until we're blue in the face that quieter mixes might actually sound better on the radio. We can complain about the loss of those dynamic contrasts we put so much effort into capturing in the first place. And for audio engineers, making mixes loud looms high on this list. There are some activities, like unblocking toilets or telling the children the cat has died, that everyone has to do, even though no‑one much likes doing them. Push the “S” on any module to hear it alone in the signal chain, and hit the “power” button to turn it off.The idea that loud digital masters can retain real dynamics seems like a contradiction in terms, but it's exactly what Slate Digital are claiming for their new mastering plug‑in. You can load up to eight modules at once into VMR, but it’s still easy to solo or mute any of the processing modules you have loaded using the Solo and Power buttons. To A/B the signal chains against each other, just press the A or B button in real time to hear that signal chain in action. Once cloned, you can change some parameters on the alternate path, or even swap out entire modules. With VMR it’s easy to clone an entire signal chain for comparison – just press the right arrow and everything currently on path A is copied to path B. You can also drag to reorder the modules as well. You can easily see all of the processing modules installed in the Library Pane, and you just drag and drop to get them into the signal chain. You can change the vibe, color and sound of your mix with a single click and easily undo and redo your changes. VMR 2.0 comes with seven default Dream Strips, although you can remove them and make your own. Now you can instantly start mixing with the modules you use the most. So whenever VMR 2.0 is launched the leftmost Dream Strip always loads first. VMR 2.0 opens with your own custom dream channel strip by default. VMR 2.0 ships with the Mix Bundle One, which contains four Slate Digital processing modules: FG-401 Compressor, FG-S EQ, FG-116 FET Compressor and FG-N EQ. But even beyond the sound you can get with VMR 2.0, you also get the added bonus of speed and efficiency from having your entire processing chain in one convenient window. Choose from dozens of modules including vintage modeled EQs, compressors, enhancers, filters, preamps, mixing consoles, and more.
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VMR 2.0 allows audio engineers to easily create the channel strips of their dreams using a library full of analog modeled plugins.
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