New Software Review: Weiss DS1-MK3 Mastering Processor by Softube
The Weiss DS1-MK3 plugin from Softube is not an emulation; the actual code from this storied hardware unit is fully built into its plugin counterpart.
I am happy to have on the test bench today the latest release from Softube—and the first plugin from digital mastering hardware leader Weiss Engineering—the DS1-MK3.
A collaboration between two major names in digital audio processing, this is the software clone of Weiss’ renowned DS1-MK3 hardware unit, a standard found in heavy use at high-end mastering studios worldwide since the 1990s.
To be clear, this plugin is not an emulation; this is the code of the hardware unit in plugin form, but with a much cheaper price tag and a few positive upgrades.
The original hardware unit is an AES in/out-only processor capable of receiving and outputting 24-bit/96kHz audio; the new plugin version being reviewed here keeps up with today’s DAW standards, and will accept file resolutions up to 32-bit/192kHz. (The internal processing resolution utilizes 40 bits however, for high-headroom processing, which seems to result in unusually high clarity, accuracy and detail.)
The main sonic benefit of this update is the addition of two great new loudness maximizing algorithms to the Limiter section. There are a few other minor differences between the hardware and this new software version—some new graphical options in the display (such as full waveform view), the ability to make adjustments from the display, new ways to access the presets, and some other updates unrelated to audio quality.
Another significant benefit of purchasing Softube’s new DS1-MK3 plugin is that you in fact get their entire Weiss bundle as well, including the MM-1 Mastering Maximizer, Deess, and Compressor/Limiter. This bundle essentially is each processor of the DS1-MK3 packaged individually, offering less CPU strain, as well as simpler GUIs that are tailored specifically for their single purpose. These individual processors also include some additional functions and capabilities not found in the full DS1-MK3.
Before going into all the features of this new plugin, I think it’s important to understand that this is not the same as an all-in-one mastering suite such as Ozone or T-RackS, nor is it the only mix bus compressor you’ll ever need. It was never intended to be those things.
The Weiss DS1 hardware unit, which is essentially what we’re dealing with here, was intended to be the final processor at the end of the mastering chain, likely to be used in conjunction with at least an EQ (if not multiple EQs and a compressor or two) coming before it. It was designed to be clean, unobtrusive, and transparent while enhancing volume and maybe even smoothing out a problem frequency; it wasn’t and isn’t intended to take care of all mastering duties.
If you are looking for a mastering plugin that can do anything and everything, with all kinds of variable colors, this is likely not the plugin you want. However, that’s not to say that once in a while, the DS1-MK3 can’t be all you need to make the perfect master.
Features
Essentially, the DS1-MK3 is comprised of 3 main processors. The first is a brilliant sounding, ultra-high fidelity stereo mastering compressor (which can also be used as an incredibly clean and effective bandwidth compressor/de-esser when used in conjunction with its versatile sidechain filters).
The second processor is a “Limiter” (or “Safety Limiter” as the company sometimes refers to it): a brickwall limiter, a.k.a. loudness maximizer—the not-so-secret weapon that mastering engineers use towards the end of the chain to increase the overall level of a mix with minimal tonal affect.
And finally, the third is a very high-quality dithering processor—something that was useful more so in the era of 16-bit PCM 1630, DAT, and CD recorders. For the most part though, most of us will probably never touch the DS1-MK3’s dither feature.
The compressor is in some ways unlike any other stereo bus compressor. Aside from having a remarkably clean and transparent sound, the DS1-MK3 compressor section has some unusual (but useful) attack and release options.
The attack control has a “Preview” setting (semi-hidden in the options menu), which essentially is another term for look-ahead processing, allowing precise control over transients in a way that can’t be achieved in the analog domain. The release features built into this compressor are extremely atypical, with both a delay (or hold) on the release, as well as multiple stages of release based on RMS or peak leveling.
In a way, the release profile is vaguely reminiscent of the classic LA-2A compressor, which is known for releasing in two stages—a fast initial release followed by a long, slow release. The listener doesn’t hear this as unusual dynamic processing though; instead, the extra stage of release allows for an effective, yet also much less noticeable mix compression.
While the DS1-MK3 does not have an auto-makeup gain mode, it has a button for “Max” gain makeup, which essentially normalizes the output of the compressor to 0dB (how it calculates this in real time, I have no idea). There’s also a M-S processing mode, providing a widening of the stereo image rather than a loudening of the entire program.
One major feature which must be mentioned is the wonderfully versatile sidechain filter, capable of any frequency and any sized bandwidth, in low pass, high pass and middle bandpass modes. This sidechain filter allows for extreme flexibility with bandwidth compression, be it for cleaning up an excessively bassy kick drum sound, smoothing out the midrange harshness in a bad mix, or de-essing—which sometimes needs to be applied over an entire mix while mastering.
Sidechaining can be achieved via an external key as well (a feature too many plugin compressors omit). A soft-knee control lets you dial in a soft or hard knee curve (the default is very soft). Another major feature is the inclusion of reverse compression ratios, also known as expansion. No, expanders in mastering aren’t the most common thing, but the expander used in conjunction with the sidechain filter can perform miracles, making dull mixes jump to life… more on that later.
The original Weiss DS1-MK3 in hardware form.
In addition to the widely variable parameters and high-quality sonic characteristic of the DS1-MK3’s dynamics processors, there are also a number of mastering-friendly functions and features.
Channel controls can be “ganged” (linked) or separated, and settings from one channel can be copied and pasted onto the other. A and B settings can be easily recalled for comparisons. Input and output gains are adjustable down to the 1/100th of a decibel. The size of the curve of the threshold knee on the compressor can be adjusted to extreme amounts.
Metering resolution and sample over-indicators—which are not a typical feature for mix bus compressors—can be customized to your needs. This is a reminder that this device was designed for end-of-the-chain mastering purposes. But because we’re dealing with a plugin (one that costs about 1/16th of its hardware counterpart), we can of course use this for whatever we can think of.
And let’s not forget the parallel processing option. I always appreciate seeing plugin compressors with dry/wet controls, which we thankfully see way more often recently than we did in the plugins of the early days.
Parallel compression on an analog console doesn’t pose latency and phasing problems like it does in the digital domain, so when I see a manufacturer making a digital compressor that allows for easy, clean parallel processing, I appreciate it. With the push of a button (or the click of a virtual button on the GUI), you can add the dry signal to the compressed signal, which allows for some more varieties of dynamic excitement.
The Limiter section comes after the compressor, and is essentially a loudness maximizer, much like the Waves L2, Avid Maxim, iZotope’s Maximizer, or the Fab Filter Pro-L (amongst many others). We have the original DS1 limiting algorithm, but now available to the plugin version are two new and far superior-sounding algorithms: “Type I” (RMS-based) and “Type II” (peak-based).
Like most plugins, we have some presets offered to us in the DS1-MK3. Wisely though, in this writer’s opinion, Weiss has set most of their presets’ defaults with no threshold to start. This means that no processing kicks in right away, leaving you to slowly adjust these controls yourself in order to get the presets to work (discouraging reckless use of mastering presets).
For those who don’t quite know what they’re doing and get inspired by preset names… the kind of engineers who like flipping through menus until they find one titled “60s Detroit Grit” and then WHAM!—pop it in and listen to the mix suddenly explode and transform into Motown—you’re out of luck. The presets here are mostly more of a starting point for engineers with a specific goal, just to save a little effort getting set up.
In Use
A lot of great things can be said about the sound quality that the DS1-MK3 exhibits. Unlike every other compressor I’ve ever tried, the Weiss compressor imparts no tone or color, seems to add no distortion of any kind (under proper use), doesn’t appear to degrade your signal in any way—and doesn’t really mess with the vibe of your recording other than adding some excitement, volume and vibrancy. If you put a mix with lots of detail into it, as long as you choose your settings with a little bit of care, you won’t lose any of that detail. Your mix won’t sound smaller, nor thinner, nor grittier… maybe just a little more lively and, of course, louder.
If you have a mix that you already love, with perfect tones across the frequency spectrum, you could likely just add a little Weiss compression and give it that “mastered” sound without noticeably losing any punch or clarity. “Lossless, detailed, open, unobstructed, lively, incredibly smooth, hi-fi, and awesome” would be the best terms I can think of to describe the sound that this plugin’s compressor section provides. “Digital” could be another descriptive term, but unlike other clean, mathematical-type digital compressors (such as the stock plugin compressors that come with most DAWs), the Weiss doesn’t sound boring, cheap or granulated.
The bandwidth features of the compressor should absolutely not be overlooked. As a de-esser (which was designed for mix bus mastering, but now can be used on vocal tracks since it’s available in affordable plugin form), this may be the cleanest, most non-destructive de-esser I’ve ever heard. The comprehensiveness of both the compressor’s attack and release times, as well as the sidechain filter’s versatility, make for a very powerful and precise affect.
To add, the included Weiss Deess plugin is actually more powerful and flexible as a de-esser than its parent DS1-MK3, thanks to its two separate bands and low-latency mode.
Is the bass guitar over-EQ’d, making the mix muddy every time it hits? The Weiss can tighten it and clear things up with a little low-end bandwidth compression. While I didn’t A/B it with any other bandwidth compressors, I gotta say the DS1-MK3 seems to sound better than anything else I’ve ever used for this task—at least in the mastering sense, where you generally would want to maintain clarity and resolution, and not add too much character.
My favorite use of the bandwidth compressor offered by the Weiss might actually be when it is used in expansion mode with the sidechain filter affecting the low-end. In this way, I was able to take a mediocre, slightly thin mix, and make the kick and bass come to life in a heavy yet tight and completely natural-sounding way. With a few seconds of careful dialing, it made the low-end—and the entire mix—thump nicely and sound way more serious and pro than it initially had. The mix didn’t sound like it had been processed with some sort of DSP trickery; instead, it just sounded like a song that had been recorded and mixed well.
The parallel compression and Mid-Side compression modes are both very effective and easy to use, and are very welcome features. Engaging parallel compression mode instantly juices up the mix in a pleasant way (but be careful, because you’re adding an uncompressed signal on top of the compressed signal, therefore adding volume and transients). M-S mode allowed me to slowly bring some width into the mix, and having it available via one button makes this process easy to achieve (setting up M-S compression from scratch isn’t always simple).
There’s a number of loudness maximizers out there; they all basically do the same thing—chop off the excessive peaks in the mix, and then normalize the whole thing so that we’re constantly peaking without ever going into the red. This makes our mix louder overall, and hopefully does so without being too noticeable. Some loudness maximizers break up with only a few dB of added boosting, some sound smooth and clear at a variety of levels; some sound minimally invasive, others sound colored, for better or for worse.
I wanted to be thorough with this review, so I tried the DS1-MK3’s limiter on 3 different styles of unmastered mixes and compared it alongside 3 other common equivalents. I tested everything at an extreme 8dB of limiting, as well as a more typical 2.5dB. In some cases, it was very hard to determine a winner, but basically, when the DS1-MK3 was set to one of its new modes (“Type 1” or “Type 2”), it won every time—in clarity, cleanliness and width, as well as perceived loudness. When set at Type 1 (the RMS-based mode), what was 2.5dB of boost on the Weiss actually felt more like 3dB compared to the others.
However, it should be noted that in the original DS1 limiter setting (which Softube wisely did not make the default), the Weiss was the clear loser, introducing more distortion than the others. (This made me realize why so many mastering engineers will also have the hardware L2 at the end of their chain, after the DS1 hardware unit.) At low levels of gain reduction though, the sonic differences between the various processors auditioned were generally subtle.
To Be Critical
As far as critiques, there’s a few, although none of them made me dislike this software. First, there’s massive latency—8,000+ samples on my ProTools 2018 Native system. When mastering, this probably isn’t an issue. In fact, this latency I would assume is partially related to the “preview” (look-ahead) feature of the compressor, and partially related to the fact that most high-quality, hi-fi processors use lots of CPU and tend to have some latency that comes along with that.
While tracking vocals, don’t use the DS1-MK3 as a plugin de-esser… your singer will likely complain of an echo—however, the included Weiss Deess plugin addresses this issue with its low-latency mode. Regardless, the DS1-MK3’s extreme latency also can be problematic when writing automation, as the moves you perform may not be in sync with what’s being heard. Outside of the Weiss Deess, there’s no low-latency mode for the DS1-MK3, which wouldn’t be an unwelcome feature. My guess is, if it were to have a low-latency mode, sound quality might suffer somewhere, and Weiss doesn’t appear to be in business to make mastering products with deficiencies.
Another slight drawback is we’re dealing with only 2 main dynamics processors here. Sometimes, when mastering, you’d want to have a bandwidth compressor first in the chain (maybe to clean up some low-end), then you’d want to have a full-range stereo compressor for some added excitement and volume, and finally a limiter for that last stage of loudness maximizing. Unfortunately, the DS1-MK3 only has one compressor and one limiter, so if you want to have more than one compressor in your mastering chain, which isn’t unusual, you’re out of luck—if you only have the hardware version.
Since we have the DS1-MK3 in plugin form though, we can always add a second layer of it for more processing, or we can add on any one of its three children plugins (just beware of even more latency and CPU usage). Again, this isn’t an all-in-one, everything you could ever need mastering system, and we’re also not reviewing the $8,850-per-instance hardware version, so I really can’t complain too much about this type of situation.
There’s also a “Bob Ludwig Mode” in the options menu, which by default is off. When engaged, it keeps the numeric positions of all pots always visible… I guess this mode makes the GUI look less like the hardware version, but I think Bob Ludwig is onto something, and I’d probably keep it in this mode myself—very minor gripe.
For beginners, or for producers who need to get decent rough mixes together but maybe aren’t focused on being the best engineers in the world, the DS1-MK3 might not be the easiest plugin compressor/limiter to get comfortable with. It also isn’t the vibiest compressor by design (and you shouldn’t want it to be), so it isn’t the best option for many musical compression tasks. That’s not to say it feels sterile, but I wouldn’t use the DS1-MK3 as a lead vocal compressor in a Cardi B or James Bay mix, for example. It just doesn’t have that kind of rock n roll, aggressive quality. Nor would this plugin make for the best “Getcha goin’ pack” of compressors.
Summing it Up
The hardware Weiss DS1-MK3 costs about 16 times as much as the $549 Softube plugin equivalent. On paper though, the plugin seems to be exactly the same (only better), which makes me sort of wonder who will buy the hardware unit now that this software version is available. My guess is that Weiss figures they’ve already sold all the hardware units they’re going to sell, and now it’s time to move on to the much larger software market. This is great news for us common-folk, as otherwise we’d never be able to try the DS1-MK3. While it’s now much more affordable, the DS1-MK3 still is by no means the greatest value plugin, nor is it the most tonally variable processor, so this isn’t something everyone will want or appreciate.
For those who do serious mastering though; for those who mix and need to send clients loud references; for those who just want a different mix bus compressor in their arsenal; for those who want seriously smooth bandwidth compression and de-essing and aren’t concerned with price—or for those who just want to know what ultra high-end digital compression sounds like, the DS1-MK3 is highly recommended. This software is available in 64-bit AAX, VST, VST3 and AU formats, for both Mac OS 10.9+ and Windows 7 SP1 or newer. At the time of this writing, there is a 20-day free trial available at softube.com. I highly recommend giving it a whirl.
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