PSP MasterComp and 608 MultiDelay
By Barry Rudolph
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Mix Magazine "Compression And Compressors"
After only five years in business, the three-member team at PSPaudioware of Jozefoslaw, Poland (near Warsaw), have released a total of 19 software plug-ins. The line's universal appeal stems from the products' dependable, good sound and clever, intuitive GUIs. The software supports 44.1 to 192 kHz, and comes in HTDM, DirectX, VST, AudioUnits and RTAS formats for Mac OS 9/X and PC operating systems.
PSP also makes many of its products double-precision (64-bit floating point) and double-sampled with its proprietary Frequency Authentication Technique (FAT). For this review, I field-tested PSPaudioware's latest processors: PSP MasterComp and the 608 MultiDelay.
INSTALL AND GO
The preset brick-wall peak limiter will not allow output levels to exceed 0 dBFS. Like an insurance policy, this limiter is especially useful for rough mixes when there's no time to correct overs.
The compact GUI has all the usual compressor controls: threshold, ratio, makeup gain, attack, release, peak and RMS detection/operation, and a hard/soft-knee compression selector.
MASTERCOMP: TOOLS AKIMBO
Auto-Makeup Gain instantly brings the output level back up very close to where you would manually set it. I liked Link, a variable control that musically sets the amount of stereo linking action. For a wider soundfield on mixes, I used very little linking as long as the center image didn't noticeably shift due to left- or right-channel gain reduction.
MasterComp includes both highpass (1 to 16kHz) and lowpass (25 to 400Hz) variable filters, with Listen monitoring available for the compressor's sidechain. Rolling out low frequencies worked well for bass-heavy mixes to apply extra compression with less pumping.
Also, I checked the accuracy of MasterComp's RMS reading VU meter calibration against Nuendo's meter and Elemental Audio's Inspector XL Level Meter plug-in, and they all agreed.
PSP 608: MORE, LATER
The processor offers two modes: MultiDelay, where each delay line has its own feedback, and MultiTap, where a master feedback operates on a single tap. Each delay has its own reverb with a choice of a plate or spring, both with adjustable decay. A tape-saturation simulator is based on PSP's algorithm used in its mastering processors.
The 608's GUI is dominated by a large, virtual LCD with a clever feature: Mouse over any control, and the display indicates the name of the control and its parameter value. All parameters are programmable via host or MIDI automation.
The display is divided into three sections: Multidisplay includes buttons, level meters, MIDI information and parameter readouts for supervising different elements of the 608; Tap Params lets you view and edit delay tap setup for all eight delay lines on an intuitive bar graph; and the Modulation section controls the LFO and Envelope Follower. There is also a Graph mode sub-menu that covers the LCD (except for the Mod section), showing all eight delay taps on a timeline, although you cannot adjust them on this page--too bad, I like this view.
PLENTY OF BANG
PSPaudioware, 48 60-196-31-73, www.pspaudioware.com.
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