# McDSP DC-2: A Compressor Like No Others!

## Метаданные

- **Канал:** MixbusTv
- **YouTube:** https://www.youtube.com/watch?v=X1-MpiuJRp0
- **Дата:** 03.06.2026
- **Длительность:** 33:18
- **Просмотры:** 4,145
- **Источник:** https://ekstraktznaniy.ru/video/52526

## Описание

http://mcdsp.com/apb/
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## Транскрипт

### Segment 1 (00:00 - 05:00) []

What's up everyone? David here. Welcome back to MixWithTheWave. Hope you guys are having a great day. McDSP drops a brand new plugin for all APB users. DC2 takes compression to a new high. A level of precision, control, and attention to detail in this dual serial/parallel compressor never seen before with EQ and saturation that allow you to tailor your compression to perfection and to do things that would require two or more plugins to do the same. Let me show you the new McDSP APB DC2. Hello everyone. Before we start, as usual, check the infobox down below for free plugin special discounts and offers and of course link to the new DC2. If you want to book mixing and mastering with me, go to the website mixwiththewave. com. In there you can also find all the mixing and mastering courses. If you want to access the exclusive library of in-depth mixing and mastering videos here on YouTube, click the join button to become a MixWithTheWave member. And if you want to support the channel, please consider using the super thanks or grab some merch. Let's get to the video. All right, here's our resizable, of course, GUI for the new McDSP DC2 compressor. First of all, I love the clean, sleek GUI. I also love the color scheme. This is a very, very deep plugin. So, sit down. There's a lot to unfold. Like I said in the intro, this starts as a dual compressor, right? So, you can see our first stage of compressor with the purple knobs and the second amber knobs. Of course, this is stereo, dual mono, or mid-side. So, you have mirroring controls on the other side that you can link or unlink. And we have three options for linking two, one, and off where everything is, of course, independent. You have three different modes of operation right here where it says mode, dual mono, stereo, or mid-side. The metering in the middle shows our input and output knob. And as we turn down the threshold, you can see the first stage of compression hitting the gain reduction meter in purple and the second stage of compression hitting again the gain reduction in amber color. So, this gives you representation of how much each stage is compressing. You can turn each compressor on and off independently by clicking the button one or two for the first and the second stage. Then we have the usual controls. We have threshold, makeup gain, we have attack, ratio, release, and the frequency for the HPF filter. Then we also have a knee button, an RMS button, and a very good sounding auto release which will still allow you to dial in the overall speed of the release when engaged. You can also see between stage one and stage two we have the very important balance knob which shift towards the first stage or the second stage. Then we have two on and off button, one for the EQ, one for the saturation because this compressor comes also with EQ which you can position before or after compression and saturation. Like I said, there is a lot to unpack. And please remember, we are talking about APB, so the saturation here it's done with analog components inside the APB unit and as all the other APB plugins sounds pretty awesome. On top of the gain knob, we also have the key for external sidechain and also the monitoring button. These of course are independent for each stage. So, so far we have two stages of compression, like I said, either stereo or dual mono or mid-side. Then we have the split button right here. And if you pay attention, it will double the EQ and saturation button. So, if I press it, you can see that now we have two buttons for the EQ, saturation independent for the purple section and the amber section. But to show you clearly what the split button does, I'm going to go back to normal, hit the flow tab right here, and here you can see not only the curve of the compression down at the bottom, but the signal chain. So, you can see that both channels, left or right or mid-side, in this default position have the EQ first, first stage of compression C1, second stage of compression C2, and then EQ, which is right now in black. If I click that, you can see that now EQ is placed post compression, okay? Now, I want you to look what happens when I click the split button right here. button, and now we went from a serial stage of compression, so C1 comes after C2, to a two completely independent channels, one for each channel, of parallel compression. So, you see that you have EQ C1 EQ C2 EQ in parallel for the first channel, and the same for the second channel, which again can be in dual mono, can be stereo, and can be mid-side. So, in this configuration, you have four independent compressors with two independent EQs for each channel, and also independent saturation. This is the saturation tab. I'm going to get there in a second. So, this is to show you how comprehensive and how much

### Segment 2 (05:00 - 10:00) [5:00]

control the DC2 gives you on the compression that you want to apply, and also open possibilities that honestly you couldn't do with anything else, or you would require what? Eight plugins to have uh these many EQs and these many saturator and these many compressors. So, right now we are linked to every time I move one knob on one side, it moves on the other side. I'm going to leave it like that for sake of simplicity, because I have to show you something else. If I click the comp tab, now you can see here you have a whole bunch of extra features. First and most important, the type of compressors, because not only we have so many stages of compression, but we have three different types of compression in one plugin. And you can change the type of compression by clicking the type bottom right here. Green is VCA. You can see the type right here in the tab. If I click it once, it will change for both purple channels in this case to fat. And if I click it again, I have opto. So, we have three different topologies of compression and you can mix and match. And of course, you have the same on the second stage. So, I can have opto and fat. I can have all opto. I can have opto and VCA or fat and VCA like this. Any combination. This is already crazy versatility. And if I was to unlink this, I can obviously change individually each channel and have something like this. The first stage on the first channel opto, the second stage in fat. The first stage on the other channel, which might be side instead of stereo, I can have a VCA and an opto instead of fat. Any combination. This is absolutely crazy the level of versatility. Now, you notice something that when I change, and by the way, you can change the type of compression clicking in the menu right here if you don't want to press the button. But if you pay attention to the in this case purple, this is what I'm tweaking. I'm going to relink so you can see it better. If I change from opto to VCA, you can see our threshold and transfer curve changes obviously cuz it's a different topology, right? If I go to fat, it changes again. And opto, you can see the classic opto transfer curve. Now, here in the HPF tab, we can also change we have our HPF filter, right? the side chain of course and remove the low end from the detector so it doesn't trigger too much compression, but it's not a fixed slope. We have five different options for our HPF filter. So, we have 60 B, 12 DB, 12 + M1, 12 + M2, and 24 DB. So, we can tailor the slope of our HPF filter in the side chain. Next to it, we have the RMS window. So, in default state, we have our compressor reacting to peak level, okay? So, we have our attack and release right here or auto release. But, I mentioned earlier that we have an RMS button right there for both, by the way, independent, again, for both stages. Still with a fully variable attack and release, but here we have another drop-down menu that sets our RMS window in 5 ms, 10, 20, 50, 100, 200, and then peak and 50, peak 100, and peak 200. So, combination, crazy amount of control. And I know this is going to be a lot of talking before playing the audio, but bear with me because this plugin is really deep. And even though it has a learning curve, is 100% worth it to learn because is an amazing processor. Next to it, we have the knee control, and button right here. And actually, I want to go and keep everything VCA because we have a very I'm going to put this one all the way up so you can see the purple line right here, right? click the knee button right here, you can see that the knee starts to soften a little bit, and it picks up a little below the threshold. That's what the knee does, right? But, here we have another drop-down menu, and we can set our knee to be 3 dB, 6 dB, 12, and 18. And in the 18 dB, you can see it becomes a very soft knee, even for the VCA. If I go to opto, this will also change. You can see our knee right there. So, this again gives us extreme control over our material and how we set the compression. This is again independent for stage one and stage two. So, these are all the controls for the compression only. I still have to show you the EQ section and the saturation section, but I want to play some audio without touching those two sections so we can hear the compression in action, and I can give you a couple of pointers. I mean, the uses for this are infinite. So, in this video, I'm not even going to scratch the surface of all the things that you can do, but I can give you a couple of quick ideas and starting points. For example, I picked this track here which has a big 808 and some simple melody, right? And what I'm going to do this, I'm going to keep the comp tab open so you can see what type of compression I'm using and the knee and everything else. And I'm going to use the compressor not in split mode, just one after the other, so

### Segment 3 (10:00 - 15:00) [10:00]

serial compression. And I'm going to remove the low end from the first stage almost completely. And I want the first stage of compression to deal with the high mid-range elements and the hats, okay? — Okay, pretty transparent, a little more dense. I'm using a fast attack. I want to keep those transients a little under control, still having a little, let's say, bus comp vibe with fast attack for the VCA section. But I'm not going to trigger the compression with anything, let's say, below 250. — You see here the monitoring section is very, very useful right away so you can hear immediately what triggers the compression. I don't want any 808 or low end to trigger it. Compensate for the gain reduction. — We are going to keep it nice and dual mono so our stereo effects remain stereo and wide. And now I'm going to use the second stage of compression, which again it looks like this right now. I'm going to turn the type into opto, and RMS on, and I'm going to leave my low end all in the detector because I want the second stage of compression to react to that 808 and just ride with it. I'm going to keep my RMS window pretty slow. Let's say actually I'm going to just go straight to 200 cuz I know I want it to react slow. I'm going to turn this one off, the first stage, so I want to monitor what the second stage does. — All right, nice and smooth, and I'm going to actually use my knee as well, and I'll keep it at six. — Bring in the first stage, and you can see my transfer curves here, my threshold curves overlap. — Look at the dance between the purple's gain reduction and the amber gain reduction. Look at this. — And right there is solid, it's contained. This is going to be an absolute weapon for mastering. And then we have our balance knob, okay? So, in this case we're still in this signal flow, so serial compression. And I'm going to exaggerate compression here so you can hear the balance in action. — Okay, you can hear how the purple, the VCA part is a little snappier and a lot more nervous. And as we go towards the opto stage, the leveler part is much smoother. And you can blend these two, totally variable from 100% first stage to 100% the other stage and anything in between. If we switch now this to mid-side, let me go factory default. Now I'm going to change to mid-side. I'm going to go in my comp section and I'm going to use instead opto for the mid channel where the big 808 and the kick drum is, okay? And then I'm going to use either VCA or FET for the side. So, let's try to do that.

### Segment 4 (15:00 - 20:00) [15:00]

— Now I'm going to unlink. And of course, the first channel in purple is my mid and the second sides. I'm going to go here and use a FET for the sides. — And for the second stage, I'm going to keep it VCA and I'm just going to give it like my glue bus settings here. — Now, that's pretty cool, right? Okay, so I showed you all the things that you can do crazy control and detail, but remember we didn't hit the split button on yet. So, if we now, we have this kind of flow. All right, and actually let me link everything and go back here. Split button, we go to the flow and now we go from this. And again, I love it because even when you are in flow tab, you can still see your threshold and gain reduction right here. That's genius. — So, right now I'm in mid-side. I quickly unlink the control so I get a little bit of a gain reduction on the sides as well cuz of course the side signal is less loud than the mid signal. You can see my threshold, you can see pretty much we have the same gain reduction, the purple GR. I'm to link it again and adjust the attack, adjust the release really quick. — So this would be C1 right here and C1 right here, like one for the mid, one for the side. Now I have the second which now is in parallel and I'm going to quickly go and pick the VCA instead for both. I'm going to re-link the controls, go back here. — And let's say I'm going to use this for just shaving off like transient like this and I'm going to remove a little bit of low end from both. Not much here, let's say 40, but here I want to grab like the high mid and high content. — And again, if you want to tweak, just unlink really quick, bring the threshold down on the side. — All right, very cool. Now — we have the EQ section. This is a very precise EQ, of course, and you have four nodes, four bands, okay? You can see this one, it has an amber color, so means that if you go in the flow, this is this EQ. This one before the C2 stage. And then you can see my other band which refers to instead the purple one and I can change this one to be parametric or shelf and this parametric to shelf. Okay, so I can do something like this, like a pull tech push pull thing. — Okay. same for the top band. We have the stage two right here, so I can do something like this. — Or the opposite. — But more important than this, I feel, let me re-link this so I don't mess things up. I can change where the EQs multiple are in the chain. Right now, they are before compression. So, with these boosts that I've done here, the compressor is reacting more to these frequencies. And of course, the output

### Segment 5 (20:00 - 25:00) [20:00]

also affects cuz this is not a side chain EQ. This is an output EQ. But now I can go in the flow tab and position my EQ after. — Just with a click, before or after. And this is the cool part because you can use both the EQ and the saturation section, which we're going to see in a second, to have basically two different sounding compressors. Uh not only you can have the compressors react in two completely different ways, but if you want to use the EQ to give a warmer tone to one and a more snappy and bright and open tone to the other, you can do that. So, for example, let's leave it before compression for sake of simplicity. And what I want to do now is I want my optical compressor to be a little warmer. So, I'm just going to do this. — And I want my also I'm going to do this so not it doesn't build up too much in that range. — And I want my purple VCA compressor to be a little more bitey. — Okay, now I go to the flow tab and I want the EQ that is on the second stage on my optical compressor to be post. While I'm keeping stead what I made the brighter compressor the C1 before and in this case they are parallel so I'm not affecting the C2 by positioning the EQ before or after in the C1 which would be the case if instead you are on split. You can see the EQ you can only position it before or after the serial compressor so we go there. — And you can hear how much it changes the low end positioning the EQ post second stage of compression, right? We go back and forth. — That's a lot bigger. That's obviously just a matter of routing. But this is not it. Of course it's not — because now we have I'm going to position here the EQ both in front of the compression. We have the saturation tab and this is again done in analog because we are talking about the APB, okay? So analog components digitally controlled. So buckle up because just like all the other stages of this processor compressor EQ RMS window HPS shape we have in the saturation section a lot of options. So, in this tab, in split mode, you have two, which makes four if you are independent and not linked, stages of saturation. You can see in fact, if I click split, you only, so to speak, have two, the purple one, right? In split mode, it doubles everything, so EQs and saturation, and we have for each one, soft saturation A, B saturation A and B, stun and ouch. I'm going to saturate this range, and this here is the amount, you can see, okay? And you can go negative as well, if you want a cleaner — And then we have our second stage. — And play with it because you have so many options, but don't forget, and I feel like I didn't talk about it enough. Uh, I'm actually going to do another example on a different song. The balance knob is very important because you can set up, I'm going to do it right now, two different sounding compressor, right? So, let's make it one warmer, faster, more aggressive, and the other one a little more mellow, and balance between the two, or switch between one or the other, or even automate the balance knob between sections, if that's what you want. —

### Segment 6 (25:00 - 30:00) [25:00]

[singing] — This is one way that you can use the balance between two different styles into different type of compressor. I can give you another cool example. For example, if we take this you can see how dynamic it is, all right? Steel VCA for the first stage. — [singing] — I'm going to remove almost all the low end from the detector and I'm going to go up to four the second stage instead. — And so I have this cool balance now. — [singing] — And if I feel that in the high energy part that the first stage is hitting too much, I can balance or automate the balance to go to the second compressor more. — Now you can remember the balance doesn't really change the threshold. So, it's not that if I balance more towards the second stage, there's more compression. It's just the output, right? So, these are two separate, in this case, compressors. And so, it takes the output more on the one or the other. It's so great and it has so many possibilities. And of course, this is not just for complex material, but also for highly dynamic vocals like this one. And we can do, for example, the usual trick, fat first. I actually want to focus my first stage hitting that mid-range. So, I'm going to keep the HPF really high. To catch those vowels specifically, right? And then set the more leveler type of compression in the second stage. Keep it opto. And add a little bit of saturation on this. And then go from the low level to that and see how it behaves. I absolutely love this. You see, I can even go a little lower with the threshold with the opto. — [singing] — I don't want to fall another [singing] moment your gravity. Here I am and [singing] I stand. — That is so great. You can see the two stages. You can see how the way I set the side chain on the first stage on the FET compressor, it actually only triggers with the vowel when she belts, right? And the opto instead it's used as a leveler overall. That is so very cool. And now I can just balance the two. — Here I am and I stand. So tall. — That sounds great. Let's do an acoustic guitar. I'm going to do Let's try opto first. I'm going to split and do that complex routing and then FET after. —

### Segment 7 (30:00 - 33:00) [30:00]

— You hear the balance knob how it changes the Of course, it changes the two uh stages of compression. You can blend the two. This is really cool. I'm going to do some extreme settings on a synth just to show how again versatile this thing is. — It's crazy because the amount of processing that I'm doing with the saturation and EQ and slamming the first, you know, VCA stage. Actually, I wanted to turn the second one in opto, but it's fine. It's just an example for this. No matter how much I'm slamming the material and doing processing that again not only would require four, five, six plugins here between EQ, saturation, and parallel compression, and serial compression, but the material sounds natural. This is it for the video. I talked way too much, but this was definitely a deep plugin. And again, it has a little bit of a learning curve, but if you watch this video, you know everything there is to know. It's actually very straightforward when you know all the functions that it has. This is it. This was the new McDSP DC 2 4 APB. The link is going to be in the info box down below. I hope you guys like the video. If you did, please don't forget to leave a like. Don't forget also my own plugin is out now and if you want to book mix and mastering with me as usual, go to the website mixbustv. com. If you want to access the exclusive videos here on YouTube, click the join button, become a mixbustv member, get all the perks including mix consultations. And if you want to support the channel, please consider using the super thanks or grab some merch. Thank you for watching. Subscribe if you haven't already. Stay safe. See you next time. — Violence with my poison on your lips. Never again will — I let someone in. Aching within my soul, tragedy in [music and singing] my bones. Violence