New Software Review: bx_masterdesk by Brainworx and Plugin Alliance

Brainworx aims to provide an all-in-one mastering solution with bx_masterdesk—can this plugin take your mixes to the next level?

bx_masterdesk is a plugin from Brainworx  that was designed to help achieve quality-sounding masters incredibly quickly.

Its simple, user-friendly interface certainly does provide a significant assortment of mastering capabilities without overloading the user with excessive possibilities.

In fact, bx_masterdesk was designed to be so simple to use that Dirk Ulrich, the plugin’s creator, says that there are only three mandatory steps required to get it dialed in. You’re meant to turn up the Volume knob, set the  “Foundation” for your master, and then adjust the “Tone Stack”.

He says that changing any of the other parameters is strictly optional, and that great sounds can be achieved without even touching them.

With such a bold claim and potentially appealing workflow, it’s definitely worth exploring this plugin further. Let’s take a closer look.

Features

Adjusting the simple Volume knob ensures that your audio signal is hitting bx_masterdesk’s processing chain hard enough to trigger all of its included devices. Using the VU meter, it’s recommended that you target a dynamic range of between 8dB (for streaming services) and 6dB (for CDs). To your right, there is there is an easy-to-read dynamic range (DR) meter, and above this, there are buttons that allow you to solo the mids and sides independent of one another throughout the mastering process.

The second most prominent control is the Foundation knob; it acts as a tilt EQ that allows you to set the bass foundation of the song you’re working on. A tilt EQ works much like a seesaw to proportionally balance the low-end and high-end of your mix with one another. As you reduce the value of the Foundation knob, it boosts the highs and attenuates the lows, and as you boost the value of the Foundation knob, it has the opposite effect. If the mix you’re mastering is already well-balanced, then you likely don’t need to use this function.

The Comp Mix knob allows you to blend your compressed audio signal into your uncompressed signal. At 100%, you’ll only hear the compressed version of the song you’re working on, and at values below 86%, the compressor will disengage. At any setting in between these two extremes, you’ll be applying parallel compression.

bx_masterdesk’s De-Esser is used to tame vocal sibilance, as well as harsh hi hats and cymbals. If you adjust the Foundation knob to attenuate your bass, you may notice that some top-end elements are overly prominent. Using the Solo button, you can audition the signal being attenuated. This makes it quite simple to only target harsh frequency content while leaving the rest of your signal intact.

When Compressor Link is engaged, both the left and right channels will be attenuated when a transient exceeds the internal threshold on either the left or right channel. In this mode, the compression applied to your left and right channel will be even, resulting in a balanced stereo image. The downside to this mode is that you may notice some undesirable pumping effects. This pumping can result from one channel triggering the threshold and compressing the opposite channel at inappropriate times.

When Compressor Link is disengaged (unlinked), you’ll typically find that you end up with a product that sounds “open,” and avoids many of the pumping artifacts that result from having Compressor Link engaged. In most situations, you’ll probably prefer to avoid linking the left and right channels together, but there is a time and a place for this type of processing. An example would be if there is an element in the mix continually triggering the compressor in either your left or right channel, like a pad. You may be better off linking the channels together to avoid drastically unbalancing your mix.

The Limiter Turbo button will increase the amount of limiting applied to your audio signal. By default, the internal limiter is set to apply a 1dB boost. When you engage Limiter Turbo, the boost is increased to 2dB, and the Output Trim automatically adjusts to -0.2dB. This added bit of headroom helps songs avoid unwanted artifacts from appearing when uploaded to streaming services.

bx_masterdesk has four different TMT Compressor Modes, ranging from 1 to 4. 1 is going to provide the most substantial form of compression, while 2, 3, and 4 will sequentially perform lighter forms of compression. TMT stands for Tolerance Modeled Technology. This technology is what Brainworx uses to model analog equipment in the digital realm, and TMT has proven though Brainworx’s console plugins to work exceptionally well.

Total Harmonic Distortion, or THD, is a form of distortion commonly found in analog equipment. The effect this parameter has on your sound will be quite subtle. This is basically Brainworx’s way of dummy-proofing this feature. In excess, total harmonic distortion can ruin a master, but in moderation, it can work to tame transients, slightly brighten your music, and increase loudness.

The Tone section is relatively straightforward and provides you with gain control over four different frequency bands. Much like the THD knob, these knobs have a relatively minimal affect on your sound when taken to the extremes. However, if you need to push these knobs past the range that is available, it’s likely that there are mix issues that need to be addressed first.

Also included is a mono maker, and it does exactly what it describes. You can mono your low-end with it! One of the great things about this feature is that it actually compensates for the lost stereo information. Additionally, there is a Stereo Enhance knob that does quite a good job of enhancing your stereo image, while avoiding many phase issues.

Finishing off this device are two resonance filters; a low resonance filter and a high resonance filter. To use these, engage the Auto Solo button and turn each knob in either direction. If you hear a buildup of unwanted frequencies, leave the knobs where they are. If everything sounds fine, turn them back to OFF mode.

In Use

One of the nice things about bx_masterdesk is that it makes it very hard to ruin the audio you’re working with. All of the plugin’s parameters seem to apply processing in healthy moderation, which should hopefully assist new heavy-handed producers and engineers. If you can’t make something work using this plugin, it’s a good indication that you need to revise the mix.

While this may not be my weapon of choice for rescuing a mix with significant problems, due to its lack of surgical processing, it’s perfectly capable of enhancing a mix, and well. I really enjoyed how this plugin sounds across a wide range of material including, Pop, Rock, EDM, and Hip-Hop. If your mix is top notch, bx_masterdesk will absolutely deliver for you.

Using this plugin is actually almost as easy as Ulrich says it is. I liked making use of the “optional” features, and I may even choose to precede this device with an EQ or follow it up with some other form of processing. If you’re working on a mix that merely needs some enhancement, bx_masterdesk is a great option.

While this plugin may not replace all of the time-tested mastering tools of professional mastering engineers in all instances, I found that it’s still capable of producing exceptional results in many cases, and fast.

To Be Critical

This processor is somewhat bright by nature, though not in a harsh or distasteful way. It seems as though this is a result of the character the plugin imparts on the sound, and not a result of boosting the Treble or Presence knobs. While this isn’t something that I would necessarily consider an issue, it’s definitely something to be aware of, and potentially, to compensate for based on your tastes and goals.

Additionally, I wish this plugin had a level matching A/B feature, true peak limiting, oversampling, and the ability to add dither. You’ll still have to follow up this device with another plugin to apply these forms of processing.

I get that bx_masterdesk is meant to emulate analog equipment, but at the end of the day, it is a digital product that isn’t bound by the limitations of hardware. I think the inclusion of these features would have made this unit feel more like a complete all-in-one mastering solution for more applications.

Summing it Up

I’m not sure if “a mastering suite with training wheels” is quite the best way to describe bx_masterdesk, but it’s not too far off. Don’t get the wrong idea here— this plugin isn’t some cheap toy that you’re going to grow out of. It offers a specialized set of tools that sound great, assuming your mix is up to par. The higher the quality of your mix, the more you’re going to benefit from this plugin.

bx_masterdesk costs $299 via Plugin Alliance, and can also be purchased as a UAD plugin.  (And if you bundle a number of Plugin Alliance’s products together, you can save up to 60% on your order.)  Fortunately, Plugin Alliance allows you to download all of their products and demo them free for 14 days, so if you’ve read this far, there’s no reason not to try out bx_masterdesk for yourself to see if it fits your workflow.

Charles Hoffman is a Mixing and Mastering Engineer at Black Ghost Audio. After graduating from the University of Manitoba with an English degree, Charles completed his education at Icon Collective in Los Angeles, CA.

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