Dynamics processors are essential for audio processing in general and they include a wide range of tools - compressors, expanders, gates, limiters, transient shapers etc. They are used to manipulate both long-term overall dynamics ("macro-dynamics") and the sound itself ("micro-dynamics"). The evolution of digital processing also brings specialized dynamics tools, which wouldn't have been imaginable during the reign of analogue hardware.
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There are some tools that are designed for a specific purposes. Their purpose is to make common operations faster, easier and with better audio quality. In most cases it is much easier to use them instead of classic general-purpose tools and the results are likely to be much better too.
Automatic leveller that lets your vocals, bass etc. stay on top without hours of automatization!
A unique enhancer for drums which makes drum replaces obsolete and can even be used in real time!
Single-band processors take the signal as is, no crossovers or other processing. They are easier to use, because they have "just one band". They also don't change the spectral character, therefore they are usually more transparent. On the other hand when pushed too hard, they can distort the audio more than multiband processors.
MTurboComp is the ultimate single band (not-only)
compressor. Its main purpose is to simulate the most important analog compressors.
But it also serves as a full dynamics processing studio, where you can build your own compressors for
MDynamics is the pretty much ultimate single band compressor/expander/gate (or any combination of the above) etc.
MModernCompressor is a compressor only, designed so that it is easy to use but with a few original goodies.
Check the following video tutorial about compressors, expanders and gates for more information.
Compressors, expanders, gate... Amazing sound, easy-to-use interface and ultimate versatility.
Multi-band processors split the signal into several frequency bands and process each band separately. Multi-band compressors/expanders are often used to target specific problems, such as ringing in a certain part of spectrum, de-essing etc. So you can process a particular band and leave the others untouched. Multi-band processors can provide great results, but need to be used carefully. With of their flexibility and power they are more challenging to use; it is very easy to over-use them and squeeze the life out of the music. But once you have understood the controls, you'll be surprised at what you can achieve.
Limiters are usually just the final stage at a mixing/mastering chain, ensuring that the output won't exceed 0dBFS and increasing loudness, but they can often be used during mixing for separate tracks as well, mainly to give some instruments some additional punch. They have proven to be especially effective on drums and bass for example. Limiters work in a way similar to compressors, but they are especially fast and usually contain an output saturation section.
MLimiterX is a great sounding brickwall limiter. It's
designed to be transparent and it is especially useful
for acoustic music, which usually doesn't require extreme loudness, which cannot be achieved with
single-band processors without distortion.
MLimiterMB and its little brother MUltraMaximizer are superb sounding multiband limiters, which can produce extremely loud results. That makes them ideal for all kinds of electronic music. Due to their multiband nature they can flatten the spectrum serving as sort-of magic sound fixers.
Check following video tutorial about limiters for more information.
Spectral processors take advantage of frequency-domain processing, which makes them easier to use than multi-band processors, and far more versatile. In many cases they can achieve unbelievable results with just about any audio material. However they do exhibit latency, so they are usually not suitable for live use.
Transient processors are driven by transients instead of audio levels and are used for very specific cases, usually to control the attack & sustain of drums and other percussive sounds.