You can , or on the video below. Finally, make-up gain is there to feed a switchable Soft Limiter. This limiter adds distortion, but if tucked in nicely, it offers a final smoothness to the overall effects of the previous processors. This is a subtle way to get more cymbals in the mix without tearing your face off. More information: When you visit any website, it may store or retrieve information on your browser, mostly in the form of cookies.
However, blocking some types of cookies may impact your experience of the site and the services we are able to offer. A second Magnum-K unit can be linked giving users stereo processing but that pushes the price up to around £4,600. It seems odd to have both, but you can use the attenuator to trim up to -10 dB, which is handy when your input is hot. Over the years I have not had an opportunity to try any Maag hardware, unit recently. In cooperation with Brainworx this design was turned into a convincing plugin, whereas the concept was taken to the next level.
The hardware Mäag Magnum-K on which the brainworx-developed plugin is based launched two years ago to a rapturous reception. Click on the different category headings to find out more and change our default settings. Because we respect your right to privacy, you can choose not to allow some types of cookies. This pairs common Threshold, Ratio, Attack and Release settings across both processors. Once I heard what this did for my drum tracks, I ended up using the Magnum-Ks a lot for this application.
The main compressor is also very versatile. The Maag Audio Magnum-K dual compressor plugin is truly innovative and something definitely worth checking out. Modeled from the Cliff Maag Sr. Each mode has its own set of five fixed frequency detents - between them covering 40Hz-1. Offer expires February 3rd, 2019. Because compressing cymbals can make them more brash, especially in the 3-to 5kHz range, I engaged the K-Compressor and dialed in the reduction to taste. Often some plugins show their weakness when feeding into other things down-stream, getting either muddy or edgy.
Finally, introduce the limiter, remembering that it absolutely adds distortion to your signal. I prefer calling it that instead of a mere compressor, given everything else it does beside compression. Either in stereo or mono, it sounded great. For this outing, a tracking session, I bused my overheads and hi-hat to a pair of Magnum-Ks to use as a parallel feed for drums. This can also be set to external should you want to patch in your device at the back of the unit. Taken together, it's an unusual combination, but it's one that I found extraordinarily useful during my review tests.
Crank it up and hear those abrasive high-mids melt away. You can adjust the Headroom control, but that changes the response of the whole unit, making you have to reset all your controls. For example, with the range set to 4, the ratio range stretches from 1. But with the range set to 16, the ratio range goes from approximately 3:1 up to limiting and is much more aggressive. Why not allow fine control there?? At the very end of the signal path, up to 15dB of make-up gain is dialled in, and a soft limiter provides a final stage of compression. But why wait til the mastering stage? This struck me as a very different piece of gear to what I'm used to.
Doing this, I achieved a transformer-like thickening of the lower end of a bass part, that I'd deliberately tracked via a cleanish mic and preamp chain. A fully functional 14-day trial version can be downloaded after registering. The available Ratios range from 1. I do offer some quibbles that would've put this unit over the top not worth deducting a star though! The original single-channel unit houses two compression circuits Magnum Comp and K Comp , a bespoke parallel equalizer, and a soft limiting function. I would've loved to have seen fine resolution available for the Soft Limiter Threshold control. The Magnum-K could take that crucial midrange band right up to the point just before discomfort and controls it, making tracks sound much more powerful as a result. Great for mastering applications if low-end pumps a compressor but not so useful for female vocal compression.
The dual compressor helps quieter sonic signatures become as big as you want them to be while simultaneously reigning in those louder, more dominant tones. Priced at well over two grand for a single mono channel, the Magnum-K is obviously out of the reach of most producers. The compressor Sidechain is a very useful control that focuses the compressor. I patched the unit directly before the Pro Tools inputs and used it like I would another serial processor. Was it wise for me to finally meet an audio processing hero of mine? Looking at the plug-in, you get to choose between the 20 models for the Left and Right output channels, with an optional Digital mode and a random channel assignment button. The lift in gloss and power that it gives to vocals, guitars and other instrumentation is heavenly, too. Visit the website for more information about the Maag Magnum-K compressor.
The K-Compressor and Air settings I used with Zildjian Kerope and Sabian Artisans, which are smooth by nature, were different than with Zildjian A Customs and Paiste. Most of the time, these work fine, but especially the Stereo Width control is much nicer with fine adjustment, as it can be easy to go too far. This one seems to be less susceptible to that kind of thing. What I like is the ability to audition the various bands from 10 kHz up to 40 kHz. This limits the amount of gain reduction applied to 4, 8, 12 or 16dB, making it a set-and-forget solution for preventing over-compression, regardless of ratio.
Again, I could imagine this working well on full programme material, or on a drum bus. Both the hardware and software versions are remarkable for a couple of reasons. I also used the Magnum-K when recording acoustic guitar. This was one of my favorite plugins in the past year, easy. Adding sheen and presence to anything sent its way, the effect of the Air Band is felt way below the corner frequency thanks to the shape of the slope. It has that wonderful balance of warmth, clarity, with just the right amount of saturation that adds some texture and excitement. I had a pair that I used in many sessions at Blackbird Studios, and it never failed to make me stretch my workflows and create new sonic plateaus.