The M-Compressor is an innovative plug-in that represents a new approach to dynamic processing. Therefore, it is important to know some tips for using it to your advantage. Consider these tips for using M-Compressor more efficiently to achieve the best results for your tracks.

1. Wait a couple of seconds for 'Auto-gain' to operate accurately

Auto-gain is a common feature in compressor plug-ins that simplifies matching output and input levels. There are multiple ways this feature can be implemented, each with its own pros and cons.

M-Compressor opts for a measurement-based auto-gain, ensuring that levels are always accurately matched. This is achieved by continuously measuring input and output levels and applying an appropriate amount of make-up gain to match the difference. Because of this, you might need to wait for a few seconds for auto-gain to adjust after turning it on or making dramatic changes to the plug-in settings.

2. Turn 'Auto-gain' off after making adjustments

Since auto-gain is continuously adjusting the make-up gain, we recommend keeping it on only while you are tweaking the M-Compressor settings.

Once you are satisfied with the compressor parameters, you can turn auto-gain off. The make-up gain will be automatically set to the last value measured by the auto-gain feature. It is also recommended to keep auto-gain off while exporting your track if you want to make sure that the make-up gain remains the same all the way through.

3. Both upward and downward compression reduce dynamic range, so the upward function cannot be an expander in the M-Compressor

Some users may mistakenly think that upward compression in the M-Compressor is an expander when it is not. Upward compression is a rare feature in audio compressors, and the M-Compressor is the only plug-in that offers spectral upward compression.

With upward compression, the signal level is boosted when it falls below the threshold. Use this feature to your advantage to bring out the ambience in the signal or achieve a more aggressive sounding compression.

4. 'Tilt' the thresholds to create a nice tonal balance

Notice the 'Tilt' and 'Tilt Centre' controls on the plug-in UI, inside the spectrum analyzer. It's essential to understand that the 'Tilt' feature in this plugin is not an EQ applied to the sidechain. 'Tilt' allows you to affect the shape of the spectral thresholds and tilt them around a centre frequency. It is applied to the thresholds, not the signal itself.

Tilting the thresholds allows you to apply more compression to a part of the spectrum while compressing the rest less. This is a significant advantage for improving tonal balance in sounds. For example, if you have a vocal track and want more dynamic processing applied to its higher frequencies for a brighter and crisper vocal sound, use 'Tilt' to apply more compression to its low frequencies and less compression to its high frequencies.

Audio Example: M-Compressor Tilt on Vocals

5. Take advantage of 'Ext. sidechain' to sidechain your kick and bass

Side-chaining elements like the kick and bass using compressors is a popular technique for avoiding clutter in the mix. With the M-Compressor, you can achieve this more transparently due to spectral processing. This allows the kick to cut through more nicely compared to regular compressors.

Fast attack times usually work best when using the external sidechain input to drive the compression. If you want to get creative with sidechain compression, try enabling the "diff" output mode. This will make the signal level follow the sidechain input, resulting in an interesting rhythmic effect.

6. Use the Sidechain HP for more control over your side-chaining process

You can use the sidechain highpass filter for greater control over the compressor response to low frequencies. By raising the 'Sidechain HP' control, you reduce the impact of the frequencies below the cutoff on the spectral thresholds. You can listen to the effect of the filter by enabling the 'sidechain' output mode. This feature is especially useful when you feel that the low end of your track is triggering too much compression.

Consider these tips for using M-Compressor more efficiently to achieve the best results for your tracks.

The M-Compressor is an innovative plug-in that represents a new approach to dynamic processing. Consider these tips for using M-Compressor more efficiently to achieve the best results for your tracks.


M-Compressor Cheat Sheet #1 - Techivation Blog

M-Compressor Cheat Sheet #1

Brightness, airiness, clarity, harshness, and crispiness – these adjectives are frequently used by mixing engineers to describe the auditory qualities of certain tracks. While these descriptors can be applied to various audio sources, they are most often used to characterize vocals.

As humans, we are inherently sensitive to the nuances of vocal recordings. This is understandable given that we encounter human voices every day from the moment we are born. It's no surprise, then, that many engineers consider vocals to be the keystone of any song.

Vocal processing stands as a fundamental aspect of audio production. Among the tools utilized in this process, de-essers play a vital role. Whether it's singing, voiceovers, or dialogues in film and TV, de-essing finds its application across multiple formats.

For those unfamiliar, de-essing is the technique of managing sounds such as "s," "sh," "ch," or any other sibilant sounds that tend to carry harsh and unpleasant characteristics. While de-essing is often associated with vocals, it also finds utility in addressing high-frequency elements like cymbals, hi-hats, and even reverb effects.

In the years spanning from the 1950s to roughly the 1980s, engineers grappled with limited tools to control sibilance. This era demanded labour-intensive efforts and an astute ear to achieve natural-sounding results.

As technology advanced, new tools, including hardware units, emerged to streamline the process. These tools predominantly relied on compression-based techniques triggered by specific frequency ranges prone to sibilance. This approach offered more precise control in contrast to manually equalizing sibilant frequencies.

With the transition to digital audio, the development of advanced de-essing plugins gained momentum. These plugins empowered engineers to fine-tune parameters such as detection frequency range, compression ratio, and attack/release times, ultimately yielding more accurate and customizable de-essing solutions.

However, despite these advancements, many engineers still preferred to manually edit sibilant sounds in vocal recordings or use automation to lower the volume of sibilant sounds in vocal recordings.

And now Techivation has leveraged the latest advancements in digital signal processing to create a tool like no other – the M-De-Esser. It’s not just a de-esser; this is a shaping tool that can go far beyond de-essing and help you make your tracks sound more balanced, clearer, and without any harshness.

Watch the Techivation M-De-Esser Walkthrough video

Techivation M-De-Esser Walkthrough

So, let’s take a look at 10 ways you can use the M-De-Esser to significantly improve your mixes.

Vocals are the heart of any song, and ensuring their clarity and smoothness is essential. A regular de-esser can make a vocalist sound like they have a lisp, but with the unique spectral shaping from M-De-Esser, even more extreme settings sound smooth.

Let’s shift to a world of cinematic special effects. The great advantage of the M-De-Esser compared to traditional de-essers is that its algorithms allow for more creative sound shaping and control of certain frequencies. In this example, the M-De-Esser was used to control and shape high mid-range frequencies of the mid-channel in mid-side mode, bringing the sides forward and creating more depth.

Now let’s take a look at drums. Quite often, especially with virtual drums, hi-hats or overheads can sound very harsh, masking other elements of the mix. Employing the spectral processing of the M-De-Esser, we'll try to alleviate some of this unwanted sharpness.

Amplified guitars awash in distortion can swiftly transform into a source of harshness, leading to listener fatigue. Regular equalization can prove inadequate in taming this harshness. Tools like the M-De-Esser can work wonders in such cases, where you need to remove harshness without making guitars sound hollow.

Even with well-balanced vocals, you might find yourself in a situation where sending them to a reverb can introduce harsh sibilance to the overall sound. In cases like that, you might want to apply de-essing to the reverb itself, rather than the vocal track.

Electronic drum samples can frequently generate sibilant frequencies that exhibit harshness. And in cases like these, even attenuation with a high shelf might not remove the harshness. Dynamic spectral shaping of M-De-Esser once again becomes the ally, creating smooth, analogue-like tones.

Spectral de-essing works wonders on instrument groups. Rather than trying to smooth out each track one by one, you can efficiently apply it to a group track channel (or aux, or however it is called in your DAW of choice). Let’s take a listen to the M-De-Esser on a drum group in mid-side mode, focusing more on the sides.

Synthesizers are often imbued with a piercing quality due to intricate harmonic content. The M-De-Esser can work its magic, transforming these sharp synth sounds into much more ear-pleasing timbres, without compromising clarity and adding warmth to digital sounds.

When experimenting with creative distortion applications, such as parallel channels for drums, bass, or vocals, harshness can emerge swiftly with digital distortion. Integrating the M-De-Esser into these parallel channels can mitigate distortion's harsh impact and make it sound more analogue-like.

10. Control of Harshness in Woodwinds, Strings, etc.

Another area where de-essers are used quite often is controlling the harshness of instruments like strings, woodwinds, and brass. Here we have an example with a flute, where the M-De-Esser controlled annoying frequencies in the range of 1.4 kHz-6.6 kHz, creating a more balanced sound.

We hope you enjoyed these 10 tips on how to use the M-De-Esser to elevate your mixes, but that’s just the tip of the iceberg. In future articles, we will explore more ways of using the M-De-Esser, so stay tuned for that!

We are really proud of the M-De-Esser and truly believe that it can become the ultimate tool, offering you unparalleled control over sibilant and harsh frequencies while preserving the integrity of your audio, without introducing unpleasant artifacts. Embark on your journey with the <a href="/m-de-esser/">M-De-Esser</a> today by downloading our <a href="/app/register/?type=m-de-esser-trial">14-day free trial</a>.

Written By Gleb Karpovich
- Mixing Engineer

Techivation has leveraged the latest advancements in digital signal processing to create a tool like no other – the M-De-Esser.

10 Essential Uses of M-De-Esser

M-De-Esser Walkthrough | Techivation

Watch the Techivation M-De-Esser's walkthrough:The end of the search for the perfect de-esser. Now available!

In recent years, we have seen the release of numerous advanced plugins designed to help mixing engineers in solving complex audio issues. These plugins are powered by sophisticated algorithms that dynamically react to audio signals, offering capabilities that were once unimaginable.

Regardless of where you stand on the analogue versus digital debate, it is clear that both approaches have the potential to deliver outstanding results while offering distinct characteristics.

This fact has been proven by top engineers who have transitioned to a fully in-the-box mixing workflow, using digital tools that combine emulations of revered analogue gear, pristine digital plugins, and innovative processors.

Before delving into the remarkable capabilities of M-Clarity and what it can do, let us take a moment to explore the analogue world. By gaining insights into its functioning, we can better appreciate how tools like M-Clarity effectively solve some of the challenges traditionally addressed by analogue gear.

If you have ever had the opportunity to mix on an analogue console, you may have noticed the ability to apply a 10dB boost at 6K to electric guitars without encountering harshness. While analogue emulations can sometimes introduce unwanted harshness in similar scenarios.

Analogue gear's intricate electrical interactions often result in what we can refer to as "additional free processing."In a classic analogue environment, comprising a console, outboard gear, and tape machines, audio signals go through multiple circuits, where various parameters are altered, including phase, frequency response, harmonic distortion, and noise.

For instance, a tape machine can significantly affect the phase, while harmonic distortion can emphasize specific frequencies. Even just passing a signal through a piece of gear can yield a pleasing effect, particularly when using transformer-based gear.

Consider the impact of harmonic distortion in analogue gear. Observe its frequency response and the notches that often correspond to frequencies perceived as harsh or unpleasant. You might even notice a resemblance to Fletcher-Munson curves.

If you are unfamiliar with Fletcher-Munson curves, they are a set of experimentally determined graphs that illustrate the loudness, measured in dB SPL, required for sounds at different frequencies to be perceived as equally loud. In essence, they reveal how loud a frequency must be compared to another frequency to achieve a perceived equal loudness. It is a fascinating concept to explore how the non-linear behaviour of analogue gear can fix issues like harshness or muddiness.

Moreover, analogue gear has dynamic qualities that adapt to audio signal levels. Sometimes, we obtain unexpected improvements in audio quality through analogue gear that are byproducts of its operation. However, it is important to note that high-quality analogue gear comes at a considerable cost, so such improvements are far from being truly "free."

The Techivation team has developed advanced digital tools that address issues such as muddiness, harshness, and unpleasant resonances.

So, how can we achieve the same level of sweetness in our digital mixes? What processing tool can unlock the full potential of our tracks?

The answer lies in M-Clarity—a revolutionary spectral processor. Imagine the thrilling effect of running your audio sources through high-quality Class A analogue gear, transforming the character of your tracks, and infusing them with excitement. M-Clarity achieves a similar outcome by eliminating unpleasant resonances and revealing the true character of your tracks, all without introducing unwanted artefacts.

You may wonder why spectral shaping is a crucial consideration. Can't a regular notch filter suffice in removing unwanted resonances? Or dynamic EQs and multiband compressors?

While regular EQ can indeed address such issues, it has certain limitations. Even dynamic EQs fail to dynamically track resonances. While you can configure a dynamic EQ band to respond to specific frequencies, the frequency choice remains fixed. Moreover, the adjustments made by regular EQs tend to be broad and lack the precision and complexity offered by spectral shaping.

This is where M-Clarity excels. It dynamically shapes audio sources, making intricate adjustments across the entire frequency spectrum. Such precision is nearly impossible to achieve manually using conventional tools like dynamic EQ or a multiband compressor. With M-Clarity, you gain precise control over its behaviour, enabling you to focus on specific frequency ranges and define how it treats your audio signals.

Let us delve into one of my favourite use cases for M-Clarity:muddy vocals. Consider a scenario where you encounter a boomy vocal plagued by irritating resonances in the low end. While you could try to address these issues with a regular EQ or a multiband compressor, often the problem extends beyond simply removing a few troublesome frequencies. In such cases, you need a tool that can dynamically shape the sound, addressing the fundamental issues at hand.

Now let’s do a similar test, but this time with male vocals and see what M-Clarity can do with it.

In these examples, we deliberately used more extreme settings to accentuate their impact, enabling us to observe the full extent of M-Clarity's capabilities. However, in actual mixing scenarios, a more subtle approach would be preferred, and M-Clarity shines even then—retaining its pristine performance without introducing any undesirable artefacts. This is where many processors often falter—struggling to maintain quality under extreme settings. But with M-Clarity, you can trust in its reliability, no matter the intensity of your adjustments.

M-Clarity embodies the essence of the finest analogue gear—its ability to dynamically respond to audio sources, transforming them into something more pleasing to our ears. While M-Clarity does not emulate analogue gear, it captures the essence of analogue warmth and smoothness, shaping audio in a manner that evokes the finest analogue processing.

In addition to its impressive capabilities, M-Clarity features a user-friendly GUI. It has been thoughtfully designed to meet the needs of modern producers working on computers equipped with screens, keyboards, and mice. Its intuitive interface ensures that harnessing the power of M-Clarity becomes a seamless and enjoyable experience.

With M-Clarity, every element is strategically positioned to promote speed and efficiency in audio processing. The interface embraces a sleek and modern design, featuring a clean layout that allows for quick navigation and seamless workflow.

But don't just take our word for it—experience M-Clarity firsthand. <a href="/app/login/?type=m-clarity-trial">Download a 14-day free trial</a> and embark on a journey of audio refinement. Discover how M-Clarity swiftly becomes an indispensable tool in your sonic arsenal.

Unleashing Spectral Brilliance. Discover the power of M-Clarity.

Unleashing Spectral Brilliance. Discover the power of M-Clarity:Read the blog.

Redefining Analog Smoothness:M-Clarity, The Cutting-Edge Spectral Processor

Consider these tips for using M-Clarity more efficiently to achieve the best results for your tracks.

1. 'Hard' mode is more accurate and useful than 'Soft' mode

In most cases, opting for the 'Hard' mode is recommended as it offers more noticeable changes to the sound compared to the 'Soft' mode. The 'Soft' mode is primarily designed for subtle adjustments, while the 'Hard' mode proves more useful during the repairing process.

2. Often choose a 'Narrow' frequency range

M-Clarity is designed with accuracy in mind, so it's best suited for surgical adjustments. Therefore, it is often more useful to select a narrower frequency range to target instead of a wider range, in order to achieve a better tonal balance for your sound.

It's generally advisable to begin by clicking the 'filter' button to isolate the specified frequency range on the frequency range slider and identify problematic frequencies. Once you have identified them, click the 'filter' button again to disable it and commence your processing.

As you suppress certain transients using M-Clarity, you may want to increase the overall output volume using the 'Gain' control in the plug-in to ensure level matching with your tracks. Sometimes, tracks with problematic frequencies may sound louder, but after applying the effect, you can simply increase the loudness using the 'Gain'.

5. M-Clarity can help achieve louder masters

By suppressing unwanted transients using M-Clarity, you can potentially increase the overall level using the 'Gain' control, enhancing the overall loudness of your track while helping the dynamic range, when utilizing the plug-in for audio mastering.

6. Use slower attack times and faster release times for drums

When applying M-Clarity to transient sounds like drum hits, selecting slower attack times and faster release times can help preserve the overall punch in the frequency range that you're suppressing. However, you are free to experiment with a 0 ms attack and 0 ms release without experiencing any distortion.

7. Opt for less 'Focus' for greater suppression

If you desire more pronounced effects on your audio, choose a lower 'Focus' amount. It's also recommended to start at 0% Focus and gradually increase it to your preference.

It's often beneficial to experiment with different 'Intensity' settings on a track to find the right balance, as it can have a significant impact on the overall result.

In conclusion, M-Clarity is designed with two primary objectives:to deliver super accuracy and artifact-free high-quality sound and to provide a fast and user-friendly experience. We hope this cheat sheet helps you achieve outstanding results more efficiently. Stay tuned for more.

M-Clarity Cheat Sheet #1

Techivation M-Loudener has become a favorite mixing and mastering tool of many professionals. Since the release, we have received several feature suggestions, and we decided to bring some of them into the plug-in while also making more improvements to it.

Read this article to find out what’s new in the M-Loudener v1.1.0.

On the right-hand side of the interface, you will find two options for monitoring the audio signal:the 'Output' and 'Difference' meters. The 'Difference' meter displays the change in RMS levels between the input and output of the plugin.

By using this meter, you can adjust the plugin's output to match the loudness of the input, resulting in a more accurate representation of the plugin's effect on the audio. This feature is particularly useful because it allows you to maintain the same loudness while increasing headroom, which is the amount of space between the loudest part of the audio signal and the maximum level that can be recorded or played back without distortion. By adjusting the output to match the input, you can hear the plugin's effect more clearly without introducing any additional gain.

It's important to note that when you match the difference, the RMS loudness of the output will be the same as the input, but because the plugin generates new harmonics, the perceived loudness can still be higher.

If you want to maintain the same loudness level while increasing headroom using M-Loudener, you need to set the 'Difference' meter to 0. This can be achieved by using the 'Match RMS' feature, which ensures that the RMS loudness of the output matches that of the input. By doing this, you can increase the headroom without changing the perceived loudness of the audio.

On the other hand, if you want M-Loudener to increase the perceived loudness of the audio, you need to set the 'Difference' meter to a value greater than 0. In this case, you can leave the 'Output' meter at 0, and the plugin will increase the loudness of the audio by generating new harmonics. However, it's important to note that increasing the loudness in this way can also increase the risk of clipping or distortion, so it's important to use your ears and monitor the audio carefully to avoid any unwanted artifacts.

Clicking on the ‘Match RMS’ while the playback is on adjusts the output audio levels to match the input’s RMS value. For example, if your track has an RMS of -12 dB, selecting 'Match RMS' will ensure that the output signal retains the -12 dB RMS after applying the plug-in effect.

The ‘Match RMS’ feature is not a selective tool, but a one-time clickable option that automatically balances input and output RMS levels during playback. It serves as a helpful starting point when using the plug-in, and also helps to hear the exact effect of the plug-in on the sound’s punchiness, thickness, width, and character without a change in the perceived loudness.

After finding an appropriate balance between input and output levels to maintain consistent headroom, you can utilize the 'Drive' option for additional headroom and tweak the 'Output' for increased loudness.

There are a couple of important points to keep in mind when using M-Loudener’s ‘Match RMS’ feature:

1. If you change any of the plugin settings, such as Sound Effect, Drive, Softener, Smoother, Mix, or MidSide, you may need to use the 'Match RMS' feature again to ensure that the output loudness remains consistent with the input.

2. If you have automation set up for the plugin's 'Output' parameter, the 'Match RMS' button will have no effect. This is because automation always takes priority over manual adjustments made using the plugin's interface.

In summary, if you make any changes to the plugin's settings or have automation set up for any of the parameters, it's important to monitor the audio carefully and adjust the 'Match RMS’ feature as needed to ensure the desired loudness and headroom levels are maintained.

When you use the 'Set Drive' button in M-Loudener, the plugin uses the peak hold value displayed above the meter to set the Drive parameter. Similar to the 'Match RMS' button, this feature is a one-time clickable option that can be triggered during playback, modifying the 'Drive' value with a single click.

It's important to note that if you click the 'Set Drive' button when the audio isn't at its loudest point, you may end up with too much Drive and audible distortion. So to avoid distortion, it's best to play the loudest part of the track when using the 'Set Drive' button.

The ‘Set Drive’ feature ensures that the audio peaks hit the transfer curve at the right spot, where you get enough of the effect without introducing any distortion. However, it's important to remember that 'Set Drive' is only a suggestion and that you can still manually adjust the Drive parameter to increase the perceived loudness further, as long as it still sounds desired to you.

In summary, the 'Set Drive' button is a useful tool for setting the Drive parameter to a safe level quickly, but it's essential to monitor the audio carefully and make manual adjustments as needed to achieve the desired loudness and avoid any unwanted distortion.

There are a couple of important points to keep in mind when using the ‘Set Drive feature:

1. If you have automation set up for the plugin's 'Drive' parameter, the 'Set Drive' button will have no effect. This is because automation always takes priority over manual adjustments made using the plugin's interface.

2. You should always play the loudest part of the track when using the "Set Drive"button, and it only works while the playback is on.

M-Loudener features a handy 'tooltips' option that you can enable or disable from the plugin's menu. When this option is enabled, you can see a brief description of each part of the user interface by simply holding your mouse over that particular section.

Tooltips are an excellent way to quickly learn about the various controls and settings in the plugin, making it easier to navigate and use the interface effectively. They can provide helpful information about each parameter, including its function, range, and how it affects the audio signal.

Enabling the tooltips option is a great way to speed up your workflow and make it easier to work with the M-Loudener plugin. If you're not sure what a particular control does, simply hover your mouse over it to get quick and informative tooltips.

As many users with older macOS systems and 32-bit Windows versions requested us, we decided to create a legacy installer for older macOS versions like 10.9 up to 10.12. So now we could say that M-Loudener is available for macOS 10.9 (OS X Mavericks) and higher. Also, for Windows, we had requests for having it available for 32-bit Windows systems, the current installer also supports 32-bit along with the 64-bit.

We have significantly improved the loading speed of the M-Loudener plug-in. Now, when you insert it onto a track in your DAW, it will open up super quickly. Additionally, we have delved deeper into its functionalities and made several minor bug fixes. Mainly those that could hardly be noticed, but we gotta make things perfect, right?

Learn more details about the new features that are added in M-Loudener version 1.1.0.

Learn more details about the new features that are added in M-Loudener version 1.1.0. Try M-Loudener for free!

Blog:What’s new in M-Loudener v1.1.0

What’s new in M-Loudener v1.1.0

T-Compressor:Review and Demo with AlexProMix

Watch this review and demo of T-Compressor by AlexProMix

Audio mastering is the final stage in the music production process where a mix is refined and optimized for distribution. It involves a series of adjustments and processing techniques to ensure that the final track has a balanced frequency spectrum, controlled dynamic range, proper stereo imaging, and optimal loudness.

Mastering ensures the track sounds professional and consistent across different playback devices and systems. It also helps to identify and correct any issues that might have been overlooked during the mixing stage. Ultimately, audio mastering brings out the best qualities of a mix, delivering a polished and cohesive listening experience.

Attaining the ideal master with optimal loudness, in line with industry-standard tracks, can be challenging. This is because increasing loudness requires greater audio compression and a reduction in dynamic range, which can lead to a less vibrant and dynamic sound.
In this article, we will explore three tips for using the M-Loudener to achieve impressive loudness while preserving dynamic range quality and ensuring that your track remains lively and engaging.

When mastering, it is ideal to have the M-Loudener on the master buss right before the limiter.

The 'Drive' control in M-Loudener helps add more headroom to your track. In essence, the more drive you add, the louder the sound you can achieve. However, this feature is variable, and the amount of 'Drive' you apply to one sound may differ from another. It is also crucial not to overuse the 'Drive,' as it may cause distortion. In some cases, a slight distortion effect, when reached, could serve as a musical enhancement to the sound, depending on the production, genre, and personal taste.

The 'Drive' control ranges from -6 dB to 12 dB. Going below 0 dB indicates less headroom for your track. Settings below -6 dB may be more beneficial when using the M-Loudener on individual tracks or during bus processing while mixing, as some audio tracks might have excessive headroom available.

To begin, gradually turn the 'Drive' knob while listening to your track until you detect a faint amount of distortion, then slightly decrease it until the sound is satisfactory. Once you've done this, you may observe that the output peak meter displays a lower value than the input, even though the track sounds somewhat louder or remains the same. This indicates that you now have more headroom to apply additional loudness effects.

The centered knob in the M-Loudener plug-in, called 'Sound Effect,' increases loudness while simultaneously enhancing the track with extra punchiness, thickness, and width. It is optimized to apply more loudness without significantly impacting the dynamic range, drawing support from the 'Drive' control to provide additional headroom for loudness.

Depending on your musical taste, you can set this effect from 0 to 100%. After finding the desired sound using the 'Sound Effect' control, you can revisit the 'Drive' setting for better alignment. In certain cases, increasing the 'Sound Effect' may reduce the headroom, requiring an increase in 'Drive' to compensate or vice versa.

Using the M-Loudener before the Limiter

After using both the 'Drive' and 'Sound Effect' controls, you may still have extra headroom available for even more loudness. In this case, feel free to increase the 'Output' in the plug-in to boost loudness while monitoring the peak meters to ensure you do not exceed the limits.

Written by Amin Asbaghipour - Techivation Founder

Explore three tips for using the M-Loudener to level up your audio mastering game.

Explore three tips for using the M-Loudener to achieve impressive loudness while preserving dynamic range quality.

Better Audio Mastering with M-Loudener:3 Helpful Tips

Drums are the backbone of any song. They set the rhythm and pace of the music and can make or break a track. One of the key characteristics of a great drum sound is its punchiness. A punchy drum sound can make your track sound more dynamic and energetic. Here are five ways to make your drums sound punchier.

Compression is one of the most important tools for achieving a punchy drum sound. By reducing the dynamic range of the drum signal, you can make the quiet parts of the drum sound louder and the loud parts sound quieter. This helps to even out the sound and make it more consistent. Having the right attack and release speed setting can be very effective in achieving your desired effect.

EQing your drums can also help to achieve a punchy sound. Boosting the frequencies between 2 kHz and 5 kHz can add clarity and presence to the drum sound, making it cut through the mix. Boosting the low frequencies around 80 Hz and 120 Hz can add weight and impact to the drum sound. However, be careful not to overdo it, as too much EQ can make the sound harsh and unnatural, that’s why a lot of times it’s helpful to use harmonic saturation effects for a more natural and musical effect, such as <a href="/t-exciter/">T-Exciter</a>for extra presence and <a href="/t-warmer/">T-Warmer</a> for adding more weight to the sound.

Layering different drum samples can help to create a more complex and interesting sound. By layering a kick drum with a snare, you can create a hybrid sound that has the best of both worlds. Try layering different kick and snare samples to find the right combination that works for your track. Be sure to EQ and compress each layer separately to ensure a balanced and cohesive sound.

Parallel compression is a technique where you send a copy of the drum signal to a separate bus and compress it heavily. By blending this compressed signal with the original signal, you can add sustain and body to the drum sound without losing the punchy transient. Use a slower attack time and a longer release time to achieve the desired effect. Serial compression is when you use multiple compressors on your channel to apply a certain amount of compression effect from each, to have a better result. <a href="/t-compressor/">T-Compressor</a>allows you to have both parallel and serial compression adjustments right at your fingertips.

Transient shapers are plugins that allow you to shape the attack and decay of a drum sound. By increasing the attack time and reducing the decay time, you can make the drum sound more punchy and snappy. Use a transient shaper on your kick and snare to make them stand out in the mix. Be careful not to overdo it, as too much shaping can make the sound unnatural. Our <a href="/t-puncher/">T-Puncher</a>plugin is a transient shaper, designed for avoiding unnatural effects and keeping the sound musical while offering the desired effect.

In general, making your drums sound punchier may require a combination of techniques. By using compression, EQ, saturation, layering, parallel and serial compression, and transient shaping, you can achieve a dynamic and energetic drum sound that will make your track stand out. Experiment with different techniques to find the right combination that works best for your track.

Here are 5 effective tips on making the drums sound punchier in the mix.

5 Tips to Enhance the Punchiness of Your Drums

Compressors are great tools for reducing dynamic range and adding character to your tracks. T-Compressor makes easy work of this with its different compression modes and straightforward controls. In addition to that, there are a couple of interesting features in T-Compressor that can help take your compression game to the next level.

Serial compression is where you have multiple compressors working together in series. Sometimes, if you apply too much compression with one compressor, it can sound over-done and unnatural. The benefit of serial compression, however, is that you can spread the load across multiple compressors, which can yield a more natural-sounding result.

T-Compressor allows you to stack up to 3 compressors within one plugin, which is a super convenient way to handle multiple stages of compression. Each compressor instance has independent controls, so you can dial them in to each achieve different goals and blend them together for a great end result.

For this first example, I’ve put T-Compressor on my mix bus. The first compressor is doing 1-2dB of gain reduction (GR) on the loudest peaks to even the dynamics out; the second is doing extreme compression but with the mix at 25% (parallel compression) to thicken everything up; the third is doing very light compression on ‘Crispy’ for a touch of top end shine.

It’s subtle, but the mix is sounding a bit more energetic, yet also controlled. Notice in particular how the snare is tucked back in the mix slightly, and all the elements sound 'glued' together.

In example two, I’ve used T-Compressor to apply serial compression to an acoustic guitar. Three compressors are doing ~7dB of GR in total between them on the loudest peaks (3+3+1). By doing this in multiple stages, none of the compressors have to work too hard, and each stage reduces the dynamic range a little more. The result is an upfront and consistent sound that is still natural. (The ‘Crispy’ mode is also boosting the high frequencies in a pleasant way.)

You can also hear what it sounds like if I achieve 7dB of GR using just one compressor. The compression sounds a bit overdone and too noticeable; the result is not quite as gentle, nor is there the same consistency in volume as was achieved with three compressors.

The side-chain high-pass filter (sc-hp) is a great feature, particularly when compressing something like drums or a mix bus where you have a wide frequency range but don’t want the low-frequency elements such as kick drum and bass to make the whole mix 'pump' or over-compress when the compressor is engaged.

What the sc-hp does is stop any frequencies below the filter amount from triggering the compressor. The full frequency range is still audible and affected by the compressor, but this technique can help to prevent uneven dynamics and an over-compressed sound if that’s not what you want. (Having said that, ‘pumping’ can be a cool effect in certain contexts!)

Here I’ve put T-Compressor on my mix bus, which is helping everything sound consistent and ‘glued’ together. With the sc-hp set to 110 Hz, the kick drum, which has a lot of low-end energy, isn't triggering the compression. If I lower the sc-hp to 20 Hz, the whole mix becomes over-compressed and pumps each time the kick drum plays. I could then leave the sc-hp at 20 Hz but raise the threshold until it isn’t over-compressing with each kick drum, however in this case the overall mix now doesn’t really sound compressed or glued like it did before.


So, to my ears, the compression is working best for this track when the sc-hp is set higher. It sounds tight and cohesive, each element is upfront and the snare is sitting just right! (The sc-hp number doesn’t really matter; use your ears to find the point where the low-frequency elements aren’t triggering too much compression for your taste.)

Mix Compression Side-chain High-pass filter (Same threshold)

Mix Compression Side-chain High-pass filter (Higher threshold)

Serial compression and side-chain high-pass filtering can be very effective tools. Make sure to try them out on your next mix!

Written by Jacob Sells Instagram:<a href="https://www.instagram.com/jacobsellsaudio/"> jacobsellsaudio </a> | Linktree:<a href="https://linktr.ee/jacobsellsaudio"> linktr.ee/jacobsellsaudio </a>

There are interesting features in T-Compressor that can help take your compression game to the next level.

Tutorial:Serial Compression & Side-Chain High-Pass Filtering

Using Serial Compression & Side-Chain High-Pass Filtering in T-Compressor

The 10 Steps to the Perfect Mix

Check out the 10 steps to the perfect mix by the Techivation founder.

Watch this video on 10 steps to the perfect mix by the Techivation founder.

Tutorial:The 10 Steps to the Perfect Mix

The T-Exciter is designed for adding unique harmonic saturations to certain high-frequency ranges of sound. There are multiple reasons one would use it but the main ones are for adding a unique color and character to the sound, bringing sounds to the front of the mix, making the sound more detailed and shiny, avoiding harshness in the high-frequency range, etc.

In this article, we want to discuss three effective ways we can use the T-Exciter for magical results.

Do you want to save a ton of time and CPU power when mixing a song?

One way I personally use the T-Exciter is at the beginning of mixing a track. So first I imagine I’m not going to use any effects but just the T-Exciter, and then I do my best to make the whole mix sound as decent as possible by just balancing the tracks’ volume levels.

After I’m done planning for the mix and gain staging, before I start applying effects to individual sounds, I insert a T-Exciter into the master buss. While I listen to the whole mix I start tweaking the T-Exciter parameters until I feel like the mix sounds much better.

This way I save a ton of time and CPU because I already get the whole mix improved at some level so I won’t need to use so many effects on individual tracks. Make sure to try this!

Do you want to add air to your vocals to make them sound more pleasant?

The ‘Air’ mode in T-Exciter applies the harmonic saturations to the very high frequencies. When using the ‘Air’ mode on vocals, it is ideal to have the ‘Width’ feature engaged too, as it also adds a subtle modulation effect to the high-end for making it extra smooth.

So instead of using an EQ high-shelf boost, you can use the T-Exciter ‘Air’ mode, which helps your track not sound harsh. It creates a more pleasant-sounding high-end with a unique character.

Try taking the ‘Excitement’ amount to 100% while the ‘Air’ mode is selected to emphasize the breath and air in female and higher-range male vocals. Use the parallel ‘Mix’ knob to control the effect’s amount.

Do you want your guitar tracks more audible and clear in the context of the mix?

The T-Exciter’s ‘Shine’ mode is very suitable for acoustic or electronic guitar sounds. While you can use the <a href="/t-imager/">T-Imager</a> to spread the guitars and make extra space for them in the mix, the T-Exciter allows you to make them audible without being cluttered with the other sounds in the context. It’s because of the unique character it adds to the sound using the harmonic saturations.

Set the T-Exciter on ‘Shine’ mode, apply ‘Excitement’ to the guitar track while listening to it in the context of the mix, and continue adding more ‘Excitement’ effects until it sounds good.

If you don’t have the T-Exciter yet, <a href="/t-exciter/">grab your 14-day free trial</a> and try these yourself. <a href="/app/login/">Log in</a> to your account and download this song's .wav multitracks from the 'Resources' section to try these effects. Music By <a href="/sias-music/">SIAS</a>.

Learn 3 effective ways to use the Techivation T-Exciter for significantly improving your mixes.

Techivation:3 Tips on Effectively Using The T-Exciter

3 Tips on Effectively Using The T-Exciter

T-De-Esser could be the most natural sounding de-esser in the market if there were no pro version of it. If you’ve tried the free <a href="/t-de-esser/">T-De-Esser</a> or <a href="/t-de-esser-plus/">T-De-Esser Plus</a>, you’d probably have noticed how much different it is from other de-essers at what it does; killing the bad S’sses…

Undoubtedly, de-essing is an essential process for mixing and mastering, and it’s important to pick the right one to get the best results. What makes the T-De-Esser a very popular one is how musical and natural it does its job without causing artifacts (or basically messing up the high-end).

The Pro version, however, is the industry professionals’ choice because it even takes the de-essing game further and gives the best results one would expect. Let’s put our words into action and show what we actually mean with sound examples.

Below, we have a vocal track; one is de-essed using Logic Pro X stock de-esser, another using the <a href="/t-de-esser/">T-De-Esser</a> free version, and the other using the <a href="/t-de-esser-pro/"> T-De-Esser Pro</a>. Now, please listen to them carefully on your studio monitors or headphones and pick the one you think is the best sounding one, and you’ll see what tool was used for it.

Make sure to listen at a loud volume as the high-frequency harshness and sibilances get more noticeable at a higher amplitude.

You got it right! 🎉 The track with the T-De-Esser Pro on is:B

Nope. The Track with the T-De-Esser Pro on is B. Try listening again, this time more carefully, to find out the differences.:)

What makes the T-De-Esser Pro offer a better sound than the T-De-Esser is the combination of its effective extra features. By just turning on the ‘Lookahead’ feature, you can hear a significant difference in how the plug-in proceeds with the audio.

The ‘Lookahead’ effectively allows the plug-in to see the signal a few moments before it is processed, and the result is a more accurate and smooth behavior of the attack and release performance.

We use the example below to show it clearly. We used extreme settings to demonstrate the difference in the sound with and without the ‘Lookahead’ feature enabled. The attack is set at 0 ms and the release at 1 ms. This example is not about making it sound good, but just to clearly show how the ‘Lookahead’ makes a difference.

In this extreme example, you can clearly hear the sound being distorted while the ‘Lookahead’ is off. We love this magical button!

Find out what makes the T-De-Esser Pro a must-have de-esser plug-in for professionals in the music production and audio industry.

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