The traditional dynamic processors known to most have their limits. Setting out to provide maximum transparent dynamic control, even at the extremes, we put MDWDRC2 Native from the mind of audio giant George Massenburg to the Experts…

In Summary

Responding primarily to loudness as opposed to signal levels alone, MDWDRC2 sets out to surpass the traditional combination of fader rides and compression. This promises automatic transparent level control of even the greatest of dynamic extremes.

Going Deeper

Compression As We Know It

The venerable compressor, known to most reading this has been making life easier for engineers since way back in the middle of last century. While these familiar processors’ job is essentially to turn the loudest levels down, the way in which this is done can itself become part of the sound’s character in musical settings. This is in part down to the way compressors detect target ‘events’ and also how the resulting gain reduction agrees (or not) with the music.

When presented with the huge dynamic variation in some sources, conventional downward compression can start to become a blunt instrument. Genres demanding transparency in the face of huge dynamic shifts can be more than a match for something that ‘just turns it down’, and for some, a finer approach is needed.

For many working on such recordings, well established techniques such as manual compression (aka, using the fader), or automation can negate the kind of compressor artefacts that can draw unwanted attention.

Certainly a tool that can bottle the ear and hand of a skilled engineer has up until now eluded those who need a transparent tool that can handle the extremes as well as serve up more conventional level control.

Going Beyond Compression - Massenburg DesignWorks MDWDRC2 Native

Beyond compression, the engineer now has access to George Massenburg’s MDWDRC2 Native, referred to by its creator as a “dynamic range controller” (DRC). While this audio plugin has gain reduction duties at its heart, it could be said that its MO has more in common with a human operator with their finger on the fader than it does with existing conventional automatic compression.

Simply put, MDWDRC2 Native uses two detector circuits (Main and Peak) that govern one gain control block. A large part of MDWDRC2 Native’s transparency lies in its variable Exponent controls in these detectors, that can be anything ranging from average sensing, peak sensing, through to a response following MDW’s patented Variable Exponent Averager. This topology gives detectors the humanistic response to loudness that can be absent in conventional compressors. As such, MDW describe MDWDRC2 Native as a ‘true RMS sensing’ device.

In operation, MDWDRC2 Native’s refers to “rotation point’. At hard knee, high ratio settings this can be thought of as being the same as Threshold. At lower ratios and softer knees, the rotation point can be thought of as where lower level sounds are raised and higher level ones are lowered. In this way, Threshold can invoke a ‘see-saw’ effect which effectively sees upward and downward changes to audio.

Essentially, the concepts of separate detectors for main and peak components with advanced variable detection, along with Rotation Point are the things that differentiate MDWDRC2 Native from other devices.

Massenburg DesignWorks on MDWDRC2 Native

The MDWDRC2-Native is best utilized as a Dynamic Loudness Controller, an ‘Automatic Intelligent Level Controller’ which responds to loudness much as our ears do, and does so unlike no other. It utilizes the advanced sensing and broad applicability established by the GML 8900, demonstrating dramatically reduced artifact compared with traditional peak/average devices, even with 15-20dB of gain reduction.

Key Features

• Accurate, wide-range True RMS Signal Detection

• Log processing for balanced control over wide dynamic range

• Built-in EBU BS1770_3 Loudness Normalization filtering

• Process audio in 64-bit floating point resolution with MDW algorithms designed for smooth and transparent sound quality

• High instance count of the plug-in in your session

• Separate Main and Peak dynamic range controllers each with Attack, Release and Soft Knee Controls

• Main Compressor control provides automatic gain makeup and compress functions

• Peak control to set max level

• Bypass Gain control for easy dynamics/bypass comparisons

• Gain/Compress-Limit Loss meter

• Key sidechain input

• Sophisticated Auto Release controls

• Manual look ahead adjustments for accurate Peak Stop control

• Compress Ratio and Output Level controls

• Resizable plugin window – 100%-125%-150%

In the video below, Luke Goddard deploys MDWDRC2 Native on classical piano to apply extreme gain reduction. Starting off with a completely unprocessed recording, he then brings in MDWDRC2 Native, before using a conventional compressor to apply a comparable amount of gain reduction. This test demonstrates how George Massenburg’s Dynamic Range Controller concept can retain transparency when used at the extremes.

In the next video, Mike Exeter shows how DRC2 can be used in a completely different role of big, audible drum buss compression. Comparing it with an 1176, as well as a plugin emulation of GML’s 8900 Dynamic Range Controller, he shows how DRC2 provides a much greater degree of envelope shaping when a lot of reduction is applied. As compared with the very basic controls of the 1176, and with extended functions over the 8900 recreation, Mike achieves a particular flavour of massive drum ambience that is unachievable with the other processors.

Expert Panel - Hit or Miss?

In every Expert review we ask three of our team of contributors to give their first impressions of the product. We ask them to give the product a hit or miss, based on factors such as originality, innovation, usefulness, quality and value for money. For each hit the product gets an Expert Award. One hit and it gets our bronze award, two hits gets silver and for a hit from all three of the panel it gets a coveted gold award. Of course if there’s three misses, there’s no award.

Mike Thorne On Massenburg DesignWorks MDWDRC2 Native

My standout MDWDRC2 Native features are:

• The detectors “hear” loudness in a similar way to our brains - once you get used to this, setting up the plugin is very easy.

• Incredible transparency: 15 dB of gain reduction on a solo piano - I couldn’t achieve this using any other dynamics tools I currently have.

• Using the Release Override control it’s possible to add life and dynamics to a mix when mastering.

The MDWDRC2 allows you to think of (and use) compression as a musical tool - rather than simply to control level. You can:

• Shape the front end of a note to give it lots of attack or you can soften the attack. This allows deep control over the musical intent of the passage being played.

• Change the length of a note from long to short and vice versa. Again, this is great for bass and kick, especially double bass, where compression can be very evident as the instrument is so dynamic.

• Change the timing of a note so it pushes (creates excitement) or sits back (coolness).

• Extremely transparent level control of vocals, piano, acoustic guitar and entire mixes.

Does MDWDRC2 Native replace every other dynamics software I use? No. I’m still going to use an LA3A, 1176, 670 or Distressor when I quickly want the feel, sound and vibe they deliver. But the MDWDRC2 does something that none of those units provide and so it’s made its way into my “favourites” list in Pro Tools. Not cheap, but superb if you invest the time learning it. HIT.

Luke Goddard On Massenburg DesignWorks MDWDRC2 Native

It’s surprising how wrong some processors can be when used on the wrong material, and a great example of this is compressors and classical music. In fact, these aren’t two words often uttered in the same sentence, thanks to the compressor’s potential to extinguish one essential classical element: dynamic range. This doesn’t help those working in any genre that needs to keep big dynamic swings intact, who still need some control over the music’s ever-changing levels while keeping the impression of dynamic range. The usual approach of combining small manual fader moves with some compression can work well, but anyone who has tried in certain settings to use a compressor on its own is in for some unpleasant surprises…

I’ve certainly experienced this when I’ve found myself recording and mixing classical or choral styles, and the only time I tried a compressor in these situations was also my last. As an alternative to the ‘manual compression’ approach I was interested to try MDWDRC2 Native, and I’m very impressed.

On opening, this processor has some controls in common with a compressor, however it is so much more. In a nutshell, MDWDRC2 Native gives you another hand on the fader. This can be a slow, judicious hand for classical, a bionic one for crush-effects such as those achieved by Mike Exeter in his video, and everything else in-between.

Although fully understanding the controls definitely needs a read (or two) of the manual, it’s actually hard to get bad results out of MDWDRC2 Native. This is thanks to its intelligent approach to detection, and a prominent Gain/Loss meter that most will understand. Once you get your head around other concepts such as Rotation Point, and the fact that it has two detectors controlling one gain reduction block things start to become intuitive. I never thought that it would be possible to apply ‘healthy’ levels of reduction to something like classical piano without breaking things, but MDWDRC2 Native agrees to differ. HIT.

Mike Exeter On Massenburg DesignWorks MDWDRC2 Native

I decided to produce a video to show DRC2 in action as I don’t think words do DRC2 justice. However, I wanted to reinforce the ethos behind using tools like this. WARNING - This may NOT be the plugin for you.

I have always loved the original GML 8900 DRC and 2020 channel strip. The point of the dynamic control section was to make the source material ‘speak’ in the mix.

I understand the video shows the comparison in ‘solo’ but I think it’s important to get to know a device in solo before you can truly understand it and apply it to the final mix. If you want to hear George using it (or it’s hardware relations) in anger there are plenty of videos available.

I come from the old days of engineering where a console provided 1 mic amp and eq per channel (all the same - give or take component tolerances). Most studios only had a few choice pieces of outboard gear so we learned to balance and craft our mixes with care and consideration. MDW DRC2 encourages the “listen and react” approach of those days.

I only reach for gear to get to the end result I am looking to achieve. This is a basic part of production - what is your “WHY”? Only when I know that can I start to work toward that goal.

MDW DRC2 is an incredibly powerful device for controlling the dynamics of a source without destroying the original intent of the recording. I may be a control freak but I want to decide on the tonal changes made by introducing devices into the chain. If I want saturation or harmonic distortion then I will add it - I don’t need my compressor, limiter or eq doing it without my consent.

An analogy would be the way I approach guitar sounds. I choose the right set of components from Pickup through preamp, boost, distortion, amp front end, power amp and cab, to microphone. I can control every aspect and find the correct response to the player. Using high quality EQ and DRC from MDW allows me take the same approach shaping the signal and then applying it to the mix undamaged, then adding harmonics via tools such as Cranesong Phoenix to a much more controlled signal - the harmonic saturation becomes more predictable and musical sounding.

We are incredibly sensitive to the human voice so getting a vocal to sit in a mix intelligibly and emotionally can be tough. With DRC2 one can achieve the most wonderfully engaging and musical results which only need the gentlest of automation passes to enhance the overall song dynamics.

I have used the DRC2 to control the bottom end of a chugging guitar due to the nature of the separate main and peak detector circuits responding to the way the RMS energy appears in the signal. No multiband compression required. Similarly shaping bass guitar is intuitive and the results are wonderful.

At first use DRC2 is neither quick or easy, but eventually it becomes intuitive, and if you are willing to put in the work you will realise what a gift George Massenburg has given us. It’s taken at least a decade for him to get this to a point where he is happy to release this and bring the insane control to the masses, taking feedback from trusted associates and friends (Some of the greatest engineers in the business). Also, It may not be inexpensive but be aware that GML8900s are going for around 5000 dollars for 2 channels and can only get near what the DRC2 can do. It would have been easy to do a Digital 8900 but much like his MDWEQ he didn’t just emulate the analog hardware, he pushed the envelope (pun intended) to create a tool that is at the top of the chain. HIT.

Massenburg DesignWorks MDWDRC2 Native gets an Experts Gold Award.

A Word About This Article

As the Experts team considered how we could better help the community we thought that some of you are time poor and don’t have the time to read a long article or a watch a long video. In 2023 we are going to be trying out articles that have the fast takeaway right at the start and then an opportunity to go deeper if you wish. Let us know if you like this idea in the comments.