The second product of the ongoing and very fruitful collaboration with MagicDeathEye is a faithful emulation of their stereo mp + M P U M raster buss compressor & equalizer. From thW L 2 \e description of the hardware: “The stereo compressor is two mono compressor circuits with some e6 k 7 /xtras desw n S } y cigned for mastering and buss compression duties. This new version has an added EQ section. There are two (boost only) bands with two frequency selections each. The EQ is worked into the Variable Mu tube gain struv b ? Jcture. This means it is not befoY D e d b Cre or after the compression section, it is within it. The EQ circu^ $ O Q s j u 1it is inductor based and has wide curves for giving prograE W Q !m material that “littl* = O Z D q )e something, 0 w g s ( N”. There is also a two frequency lo8 Q ; ? # 9w cut for tightening up out of control bass. The boost of the bands can be 5dB or 3dB split between 5 steps. I spent a lot of time shaping this EQ mastering everyday and fine tuning the components on the weekends. It sounds absolutely fabulous.”

So apart from the second channel, which, unlike in its hardware role m$ 8 { e W !o] P d hdel, has already been added in the “mono” MDE plugin, we have an added E+ ) 0 TQ section here, al X d gnd the compression curve is actually quite diffeZ F H Vrent from the mono version. If one woulC k ~ ` b n U 8 Zd ask about the difference in purpose of the two, the mono compressor would usually go on individual tracks,1 ; X while the sf E g I M K W :tereoH : W r compressor, with its noticeably more gentl\ g ce compression curve and theO I ( D 1 q additional E* E V E u vQ options, would go on the master buss.

Of course, while trying to stay as close to the hardware as possible soue Q ] u Xnd-wise, we hd { v z T % y 9ave again taken the liberty to iS _ – $mplement some additional goodies in the software plugin6 U E o Z . v 3: the high frequency EQ can be applied to the full stereo field, the mid or the side signal only. Convers; V @ P `ely, for the low frequency range, an optb X 5 / 7 , – ~ional elliptical filter on the side signal will be very helpful when mastering for vinyl. The amount of harmonic distortion can be varied from 0 to 100 percent, where 50 percent correspo) ~ + 5 ~ 6 F bnds to the level of the hardware unit. In- and output gain can be linked. Finally, there is an optl Q Zion for 2- or evenr u \ i j c / U 4-fold oversampling within the plugin.

Clearly, this magnificent tube compressor is not ju{ C mst a slight variation of the mono model: while effortlessly demonstrating that smooth and musical MagicDeathEye signature sound, it has a diffeK p Mrent feel= e i ? % Y P to it. The few fortunate people who wH x o F Vere already able to score their own build of b6 W w ` A $oth the mono and t| r / ahe stereo version (they are hard to come by a? a U O A =s Ian is building each and everyone of them by hand) will know what I’m talking about. Fos = 9 I b h o #r the rest of you, now is your chance tov Z ] – 7 u 4 W ^ compare the two masterpieces in the box.