I'd be happy to upload document screenshots, if people were interested? I often like to leave the final limiting/dithering stage for another day. Sometimes, I'll add the final digital limiting (usually Elephant) and dithering (Sonoris Dither) stage in the same document, so I can hear the final result, but I usually leave that as a separate process, so I can do it quickly via "rendering" it using the "Export to sound file" comand, at a later time. With the Crookwood console, I can monitor anywhere in the chain, analogue or digital, and volume match any of those sources to within a quarter of a dB, for a fair appraisal of A vs. This is all done in real time in AudioMulch.
dB for bit transparency - Mulch usually "snaps" to some of these values, which is great), tape emulator, de-esser, stereo width enhancement via Mid/Side processing, etc. That's the main analogue loop, and it's easy to monitor either before, or after, the processing.Īt any stage along the way I may add none/some/all of the following digital processors: various meters (peak/RMS/Leq/LUFs/correlation meter/bit scope/spectrum analyser etc.), EQ, gain/attenuation stage (I use the Mulch SGain contraption, usually in multiples of 6.02. After that, the signal comes back into Mulch via the "capture" ADC, for recording. The file is played by a FilePlayer contraption, which then goes out the "transfer" DAC into the analogue chain. I start with the digital source file from the client, and have a "mastering preset" Mulch document which automatically loads at startup. (The other Crookwood DAC is the monitor DAC, so I can monitor from any source, anywhere, analogue or digital). The analogue chain consists of the Crookwood DAC, a pair of Chandler Germanium Compressors, a Thermionic Culture Pullet EQ, a Chandler TG2 pre amp (make up gain for the passive EQ), a Dangerous music Bax EQ, and the Crookwood ADC. In Mulch, it's simple to assign Inputs and Outputs to the different converters, and create the "analogue loop" for the outboard processing. The converters are hooked up to an RME HDSPe AES interface via XLR/AES cables, to get in and out of the PC.
#SONORIS DDP CREATOR PEAK PRO#
The "hub" is a Crookwood mastering console/monitor controller/headphone amp/2 x DAC/1 x ADC/analogue VU meter, connected to a pair of ATC SCM20 ASL Pro monitors, and Sennheiser HD600 headphones, for monitoring. The clear layout of signal flow, reliable audio engine, and ease of adding/removing/switching/moving plugins and contraptions in any part of the chain, being able to "tap off" the signal for montioring or recording at any stage etc., all makes for a very quick workflow. I obviously feel that Mulch does it so much better! Coming from an analgoue past, with extensive experience with outboard gear and hardware modular synthesisers, Mulch is ideal for me to use in mastering. AFAIK, there aren't any other mastering engineers using AudioMulch, although I have heard that some have used the DDMF metaplugin for chaining VSTs.
I think it might be an intersting discussion about this slightly unusual use of AudioMulch.
#SONORIS DDP CREATOR PEAK PROFESSIONAL#
I just wanted to say that I've been using AudioMulch for mastering, for the last ten years or so, and daily in a professional context for the last three years.