![]() The soft knee in this mode made it not too aggressive. In its limiter mode, I found it to be a great tool for the master bus, where it imparted kaleidoscopic detail across the whole mix and glued it together. On the drum bus, the auto release settings allow it to handle a percussive submix, where the sounds have various lengths of decay. This makes sense given that originally it would have been handling the drum, guitar and vocal stems of a band. It sounded at home on tracks with long or continuous sounds, as well as on buses. On the kind of bass sounds that have a full pluck and a long tail, like a bass guitar, it brought the sound out and controlled the bass regions. ![]() The original became the fastest tube compressor ever designed, and on snares, it's got an attack that's quick enough to be able to control the transient well. I found it particularly effective on tonal percussive elements such as high toms, where it gave them a resonating quality and let them cut through the mix a lot more. It tends to clear sounds up, and if you use it on multiple tracks across a mix, it results in a mud-free, musical, vibrant sound. ![]() The result is wonderfully detailed high-mids with lots of depth. This is attributable to the modelling of the valves, which add harmonic distortion to a sound. Its primary virtue is the way it brings things out in the mix. Physical modelling can produce stout results, and the U73b has great strength of character. In making their re-creation, Audified took apart an original unit and built a software model based on the physical behaviour of each of its components. It gained traction as a mastering compressor used immediately before cutting to vinyl, and it was a common feature on European lathes between 19. It was a vari-mu compressor, a type of valve compressor in which the ratio increases as the signal goes further above the threshold. The original was a 1950s broadcast compressor from West Germany designed to high specifications by Telefunken in response to standards set by the Institut für Rundfunktechnik, the research institute for broadcasting organizations. With Audified's U73b, there comes one more. Emulations of expensive hardware are common, and although the most fuss tends to be made over the ones that imitate classics, there are plenty of lesser-known pieces of gear that have inspired great plug-ins as well.The fact its iLok only make it a little harder to test but a 30 day demo is available. Depending on how you work, it's either going to be an essential new element that will speed up your work flow and improve your mixes, or something that you can easily live without. But you're paying for a slick GUI, ease of use and the developers time spent refining the perfect settings. The price may be an issue, as it's arguably quite simple. The best way to get the most out of MixChecker is to learn how each model sounds by playing reference material that you know well though it. The balancing between models is well done, but doesn't offer this ability to adjust to personal tastes. MixChecker is based on a convolution engine, with some very carefully thought out impulse response, and with each model volume - balanced to help with comparisons. ![]() There are no complex hidden features: just 12 buttons, a bypass switch and an optional compensation section that tweaks the output for average five or eight inch speakers. The plugin loads as the last item in your chain with a crisp, satisfying GUI that looks like a physical monitoring box. MixChecker allows you to quickly flick between 12 different acoustic models all from the comfort of your studio. It's a slow process to get those final EQ tweaks right, so everything translates properly across different sizes and types of speakers. Anyone that's into mixing down music has no doubt been through the experience of checking a mix in your mixing room, followed by burning a CD version and rushing out to the car to see how it stacks up.
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