The ultimate McDSP music produciton suite.
McDSP’s world-renowned equalizers, compressors, tape machine and analog signal path emulators, mastering limiters, multi-band dynamics processors, convolution reverbs, de-essers, noise filters, and ‘futz’ tools are available together as the McDSP Emerald Pack v5. This professional signal processing bundle incorporates 12 powerful plug-ins including the 6030 Ultimate Compressor v5, Analog Channel v5, Channel G v5, Channel G Compact v5, CompressorBank v5, DE555 v5, FilterBank v5, FutzBox v5, MC2000 v5, ML4000 v5, NF575 v5, and Revolver v5.
6030 Ultimate Compressor v5
Using the popular module format, the 6030 Ultimate Compressor offers ten different compressors. All of these designs are by McDSP - some completely from the ground up, while others are emulations of existing gear with unique variations created by McDSP. Each 6030 Ultimate Compressor module is easy to operate, and yet has enough sophistication for the most discerning professional.
Whatever your style, from smooth tube emulations to aggressive solid-state designs, the 6030 Ultimate Compressor has a custom-made dynamic range control module that is just right for you.
Analog Channel v5
Analog Channel is 2 plug-ins:
AC101 - Emulates analog channel amplifier circuits
AC202 - Emulates analog tape machines
The AC101 configuration acts as a digital pre-amp allowing even excessive amounts of gain without digital distortion. A drive control determines where the audio “sits” in the saturation/compression region, and even the attack and release times of the distortion character are adjustable.
The AC202 configuration emulates analog tape machines. In addtiion to standard tape machine parameters such as bias, playback speed, and IEC1/2 equalization, AC202 offers controls well beyond the limits of the reel-world devices including adjustable low frequency roll off and head bump - independent of playback speed. The user can select from several playback head types, tape formulations, and even control the tape saturation recovery time.
Channel G v5
Channel G is 3 plug-ins:
G Dynamics – a fully featured console style dynamics section with an Expander/Gate, Compressor/Limiter, and a versatile filter section
G Equalizer – a five-band professional grade console style EQ with a versatile filter section
G Console – a combination of the G Dynamics and G Equalizer configurations
All Channel G configurations feature calibration modes for music, post production, and models of the world’s most popular analog mixing desks.
Channel G Compact v5
Channel G Compact features calibration modes for music, post production, and models of the world’s most popular analog mixing desks.
The Channel G Compact HD user interface seamlessly integrates with the Avid D-Control and D-Command control surfaces, as well as the Venue D-Show and Profile live sound consoles.
CompressorBank is 3 plug-ins:
CB101 – basic compression
CB202 – compression with pre-filtering
CB303 – compression with pre-filtering and static/dynamic EQ
In addition to the standard threshold and ratio controls, the actual shape and response of the compression curve can be adjusted with the Knee and BITE controls. Flexible compression control is complimented with pre-filtering and post-compression EQ.
The DE555 is a new generation of de-essing technology, providing transparent, precise de-essing with unique flexibility. Intelligent signal analysis allows the DE555 to effectively de-ess at any signal level – no manual input threshold adjustment required.
Other options include continuously adjustable ratio and release controls to fine- tune the de-essing amount, plus a high frequency (HF) only mode for reducing the signal level of only the ‘sss’ and not the original dialog.
Key filter options include high pass and band pass filtering. A unique focus control further enhances the key filter’s ability to separate ‘essing’ from actual dialog. The key filter output can also be monitored.
FilterBank is 3 plug-ins:
E606 – parametric, high and low shelving EQ, high and low pass filters
P606 – parametric EQ with variable Q modes
F202 – steep high and low pass filtering with resonant Q control
With its unique Peak, Slope, Dip controls and variable Q modes FilterBank can emulate any EQ, or be used to create a distinct custom EQ.
Typical post productions require distorted, or ‘futzed’ versions of dialog and other tracks. Simulations of radios, cell phones, and televisions are now available in a single software product. These simulations, called SIMs (Synthetic Impulse Models) provide accurate modeling in an extremely optimized format, allowing FutzBox to use less DSP power than conventional convolution based products. Furthermore, SIMs can be scaled in real-time and changed on the fly.
In addition to the SIM library of sounds, FutzBox also includes filtering and EQ, distortion, a noise generator, and gating to complete the sonic destruction required. Original and distorted audio can be mixed in real-time to accommodate scene changes or other automation requirements.
MC2000 is 3 plug-ins:
MC202 – two-band compression
MC303 – three-band compression
MC404 – four-band compression
The MC2000 gives the user complete control of multi-band dynamic compression. Common controls such as output (make-up gain), threshold, compression (ratio), attack, and release are provided. Non-standard Knee and BITE controls allow unique and unprecedented articulation of compression characteristics. Multiple peak detection circuit types provide flexibility only previously achieved by owning several compression units. Steep 24 dB/Oct crossover filters minimize signal leakage into adjacent compression bands.
The ML4000 is two plug-ins:
ML1 – mastering limiter
ML4 – multi-band Gate, Expander, and Compressor fed into the ML1 mastering limiter
The ML1 mastering limiter uses a flexible brick wall look-ahead design coupled with multiple stages of limiting for superior peak detection. The unique Knee and Mode controls allow the ML1 to handle any kind of material with a variety of responses ranging from transparent to aggressive.
The ML4 multi-band dynamics processor includes a 4-band Gate, Expander (upwards or downwards), and Compressor fed into the same limiter algorithm found in the ML1. Each band’s Gate, Expander, and Compressor can be configured separately or linked together. Steep 24 dB/Oct crossover filters minimize signal leakage into adjacent bands. Multiple real-time metering options in each band allow quick visualization of all signal dynamics.
The ML4 crossover page shows the overall frequency response in real-time of the input, output, or total dynamics effect, on top of the graphically adjustable crossover frequencies.
Accurate output adjustment is fast and simple with output ceiling control, large meters, and meter level text readouts.
The ML4000 provides outstanding results with an intuitive user interface, flexible design, and powerful set of algorithms.
Accurate high pass and low pass filters reduce low frequency rumble and high frequency hiss. Selectable slopes of 6, 12, 18, 24, 30 and 36 dB/Oct and frequency control range covering the entire audible spectrum make the NF575 filters extremely flexible.
Advanced notch filters allow the user to select the amount of signal cut, cut frequency, and width (Q). All five NF575 notch filters can be linked harmonically to address common cyclical noise problems such as 60 Hz hum.
Revolver provides the most compelling impulse library to date, with hundreds of sounds from rare holy grail out of production reverbs and acoustic spaces. Additional acoustic spaces and outboard gear can be modeled in a few minutes with Revolver and the Revolver impulse response tools.
Controls for the total reverb time (in percent and RT60 values), wet and dry levels are always displayed. The remainder of the Revolver plug-in interface is separated into several control pages and views. Graphical representations of signal flow, impulse response data, EQ responses, and even images of the impulse response source are available
All parameter adjustments are heard immediately, and the outputs are not muted during any control updates. The user does not need to wait while the reverb is re-rendered.