MagicDeathEyeStereo- Opinions?

seawind161

Curious about this, and reviews seem to run the gamut from snake oil to indispensable.
Puzzled by the lack of a Ratio control on a compressor, NGL.
Currently on sale; would anybody using this care to chime in?

dreamcartel

its snake oil that should be purchased upon sale price. jk

if I had $20 I would buy it. its something everyone swears by, and if your considering it, that means you have the $20, if you can afford it get it. I would get it myself based on the producers that swear by it. I don't think its snake oil, I might think its overrated but its not snake oil.

personally, its too much for my wallet but people that know how to produce well swear by it. go for TB stuff (barricade+eq) and its still less for that perfect combo. but let us know what you think

Darkstring

Maybe someone using it could do some A/B comparisons, or post an example sound file before and after processing. Then you could test for yourself and see if you have anything else that can do the same.
I like the interface, but have not yet heard anything anywhere that makes it unique.

Halftone

Noob posted some examples in this thread about half way down

https://forum.audiob.us/discussion/40614/magic-death-eye-stereo-vs-cubasis-master-strip-finishing-plugins

raabje

I am still choosing which one to buy, the stereo one or the other one. Both is a bit too much at the moment.

Main purpose would be put it first on my incoming guitar signal in AUM.

Any advice? I found and read some topics about it, but some help would be nice.

Slush

So far as my research is going it seems that the stereo is a bit more subtile and the mono has a bit more punch/bite. I think that last one sounds more up to my alley, and the eq part I can always do with one of the eq’s I have.

[Deleted User]

Slush

Also a good review https://www.soundonsound.com/reviews/ddmf-magic-death-eye

raabje

@Slush said:
Also a good review https://www.soundonsound.com/reviews/ddmf-magic-death-eye

Yes, thanks, good read! I take the normal one, MDE. Desktop price (the bundle is 145 euro) is much higher than IOS, I think for IOS it is a good deal at the moment.

NoiseHorse

I just bought it. It’s a smooth subtle kinda saturating compressor with equally subtle EQ boosting. Not a lotta controls but enough. I’m currently combining it with Barricade subtle glue setting so I can see the peak levels. It’s enough that I can get a good final without butchering it all to hell like I usually do.

HotStrange

I’ve heard some very great things about it. But I’m a Toneboosters fanboy and I’m very happy with their mastering apps, so I never felt a strong urge to buy it. I did buy NoLimits last night. TB Barricade is my main limiter but I wanted to have another good one just for different use cases and it’s great. The envelope reverb and MagicVerb are also amazing, so I’d imagine it’s good.

NoiseHorse

@HotStrange also a Toneboosters fan. I line up their EQ, Compressor, Enhancer, and Barricade and have layers of tweaks to sculpt a mix. But MDESt is making me think twice, it’s a very clear and natural sound like I used to get from Auria.

McD

It’s an excellent circuit simulation of a physical piece of studio hardware.

Its magic is in the tube behavior that adds the type of warm (I.e. even overtone) distortion/saturation. It probably rolls off odd harmonics too. So, it creates a mix that most like in their music but many would not if they crave a good sawtooth sound.

The specifics of the controls are dictated by the physical gear and the UI matches it photographically and functionally.

seawind161

Still curious about the lack of a ratio control. Is it fixed at an optimized level? Does it vary by some arcane formula? Have I misunderstood the controls on a typical compressor? Is is PFM?

HotStrange

@NoiseHorse said:
@HotStrange also a Toneboosters fan. I line up their EQ, Compressor, Enhancer, and Barricade and have layers of tweaks to sculpt a mix. But MDESt is making me think twice, it’s a very clear and natural sound like I used to get from Auria.

What I love about Barricade is saturation emulations with the compressor. And it seems pretty transparent. NoLimits2 colors the sound more, though it seems like it’s supposed to do that. And so far I’m really loving it. If that transfers over to the MDE apps then I’m positive they’re great.

But I enjoy the mixes I get from TB, FAC, etc and don’t have the extra funds right now anyway. I’m saving up for an OP-1 Field and my midi controller crapped out so I gotta get a new one. So I have to watch my app spending.

Schmotown

@raabje said:
I am still choosing which one to buy, the stereo one or the other one. Both is a bit too much at the moment.

Main purpose would be put it first on my incoming guitar signal in AUM.

Any advice? I found and read some topics about it, but some help would be nice.

I don’t own either MDE compressor but in your application it seems like overkill. I run the Logic Pro compressor right after my guitar input but if Logic isn’t your thing, the RRS Comp 609 is really good on guitar. I used it for years before Logic came out on the iPad… https://apps.apple.com/us/app/comp-609/id1514569444

gusgranite

@seawind161 said:
Still curious about the lack of a ratio control. Is it fixed at an optimized level? Does it vary by some arcane formula? Have I misunderstood the controls on a typical compressor? Is is PFM?

Not sure what PFM means. Yes, no ratio is interesting. I’m not sure if it is fixed or has a range depending on how much you drive the input.

There’s a thread on Gearspace about this compressor with lots of info: https://gearspace.com/board/product-alerts-older-than-2-months/1309139-ddmf-release-magicdeatheye-stereo.html

This stereo version has a softer action that the original MDE comp. More geared for mastering. The manual is here but doesn’t mention ratio. https://forum.audiob.us/uploads/editor/s7/9tmbmrkwrnj7.pdf

There’s saturation control swiping the Balance control which is cool.

seawind161

@gusgranite said:

Not sure what PFM means. Yes, no ratio is interesting. I’m not sure if it is fixed or has a range depending on how much you drive the input.

• Pure Freaking Magic, lol.

bangzero

@Schmotown said:
I don’t own either MDE compressor but in your application it seems like overkill. I run the Logic Pro compressor right after my guitar input but if Logic isn’t your thing, the RRS Comp 609 is really good on guitar. I used it for years before Logic came out on the iPad… https://apps.apple.com/us/app/comp-609/id1514569444

+1. and fwiw Comp 609 pairs nicely with Nembrini's Voltour for guitar mojo.

HotStrange

@bangzero said:

@Schmotown said:
I don’t own either MDE compressor but in your application it seems like overkill. I run the Logic Pro compressor right after my guitar input but if Logic isn’t your thing, the RRS Comp 609 is really good on guitar. I used it for years before Logic came out on the iPad… https://apps.apple.com/us/app/comp-609/id1514569444

+1. and fwiw Comp 609 pairs nicely with Nembrini's Voltour for guitar mojo.

I recommend all of the RRS apps honestly. I own 5-6 and they’re all great but I have them all on my iPad. The AUV3 demo is unlimited and free so offers a lot of time to explore and see if it’s right for you.

Fingolfinzz

It’s one of my favorite compressors. I love vari mu compressors and this one doesn’t disappoint and the harmonics it adds is very pleasing. I like using it subtly, it adds some nice movement and gentle saturation that enhances everything. I usually just use the regular one for tracks and stereo for busses

gusgranite

@seawind161 said:

@gusgranite said:

Not sure what PFM means. Yes, no ratio is interesting. I’m not sure if it is fixed or has a range depending on how much you drive the input.

• Pure Freaking Magic, lol.

Right on! 😃

Luxthor

I would never use a stereo compressor on any instrument track. By stereo, I mean when you compress the left and right channels individually of each other. For the simple reason that your compressor could change your sound character and imaging in ways you didn’t expect.

The normal compressor is still changing dynamic, sculpting, and adding saturation, but the consistency of the instrument and stereo image stays the same as you initially set.

Now, of course, it depends on the compressor algorithm and features, but I just don’t want to experiment that far.

raabje

@Schmotown said:
I don’t own either MDE compressor but in your application it seems like overkill. I run the Logic Pro compressor right after my guitar input but if Logic isn’t your thing, the RRS Comp 609 is really good on guitar. I used it for years before Logic came out on the iPad… https://apps.apple.com/us/app/comp-609/id1514569444

Ok, I thanks. I do have MDE now, but I will taken a look at RSS. I have never heard about RSS before.

Slush

@raabje said:

@Schmotown said:
I don’t own either MDE compressor but in your application it seems like overkill. I run the Logic Pro compressor right after my guitar input but if Logic isn’t your thing, the RRS Comp 609 is really good on guitar. I used it for years before Logic came out on the iPad… https://apps.apple.com/us/app/comp-609/id1514569444

Ok, I thanks. I do have MDE now, but I will taken a look at RSS. I have never heard about RSS before.

This is a good compressor from rrs as well, it’s the well known ‘Molot’ vst compressor https://apps.apple.com/nl/app/rrs-cl1/id1639305828

You can buy every rrs app blindfolded, they are all top quality for low prices.

Mountain_Hamlet

Here’s a little something that explains the style of compressor the Magic Death Eye Stereo is:
https://pulsar.audio/blog/variable-mu-compression-how-it-works-and-when-to-use-it/

HotStrange

@Slush said:

@raabje said:

@Schmotown said:
I don’t own either MDE compressor but in your application it seems like overkill. I run the Logic Pro compressor right after my guitar input but if Logic isn’t your thing, the RRS Comp 609 is really good on guitar. I used it for years before Logic came out on the iPad… https://apps.apple.com/us/app/comp-609/id1514569444

Ok, I thanks. I do have MDE now, but I will taken a look at RSS. I have never heard about RSS before.

This is a good compressor from rrs as well, it’s the well known ‘Molot’ vst compressor https://apps.apple.com/nl/app/rrs-cl1/id1639305828

You can buy every rrs app blindfolded, they are all top quality for low prices.

That one is my personal favorite of theirs and probably in my top 3 iOS compressors. They make excellent apps and are, imo, the same quality as DDMF for much cheaper. IMO anyway.

And that’s not to take away from them either, I just bought NoLimits 2 and already absolutely love it.

Wrlds2ndBstGeoshredr

@raabje said:
I am still choosing which one to buy, the stereo one or the other one. Both is a bit too much at the moment.

Main purpose would be put it first on my incoming guitar signal in AUM.

Any advice? I found and read some topics about it, but some help would be nice.

If input is mono, get the mono version. I have both and use the mono more than I do the stereo.

McD

@Wrlds2ndBstGeoshredr said:

@raabje said:
I am still choosing which one to buy, the stereo one or the other one. Both is a bit too much at the moment.

Main purpose would be put it first on my incoming guitar signal in AUM.

Any advice? I found and read some topics about it, but some help would be nice.

If input is mono, get the mono version. I have both and use the mono more than I do the stereo.

Actually, they both process stereo signals but there is a difference… a reviewer in “Sound on Sound” explains:

The Magic Death Eyes are just “Kick-Ass” Compressors!

It’s the only processing in my signal chain that has Tubes and transformers in it… Out of everything! So, if, I’m going to add any sort of coloration, or vibe to the sound, it’s going to come from these!

So the story behind these is that Ian Sefchick, who works at Capitol Mastering, has been building boutique gear for in-house use at Capitol Studios for a very long time… ( If you happen to be in their studios and you see a compressor with a big Capitol logo on them, it's one of his). The Magic Death Eyes are the next evolution of his compressor design, which is a classic tube vari-mu circuit. The key to these are the transformers, which are not only his own designs but are hand wound by himself. He actually uses the same winding machines that companies used to use back in the day when making the original transformers for magical pieces of gear like Pultec and Fairchild… (Extremely time-consuming) So, what you get is just a really unique transformer tone that you won't ever get out of any piece of gear you buy on the mainstream market today!

Just like any other tube processor, when you push the gain, you generate pleasing harmonic distortion/saturation (Which is a technique that I use a lot), but the difference with the MDE's, and what really sets them apart from other vari mu’s like a Fairchild 670 (What you would consider the king of all vari-mu processors) is that the Magic Death Eyes are very linear across the frequency spectrum. When you compare it with a lot of other tube compressors when you start cranking them up, (Where the low-end gets really woolly and there is a very unnatural boost occurring) with the MDE’s the low-end extension stays true to the source. These guys will handle any Bass super heavy material without a glitch… The difference also with a lot of the old classics is that the reaction time is a lot faster, which makes them able to handle very transient heavy stuff as well as fast percussive, extremely well!

Another thing worth mentioning is that these are less than 90 dB noise floor which makes them extremely quiet comparing to a lot of other vari-mu designs.

The Magic death Eye also doubles has a kick ass tube amp which I use it for all the time, Even when the threshold is all the way down, you still get a bit of squeezing to the material, especially when you start pushing the amp.

This box really keeps the essence and the integrity of the material intact. For example, if you compare it to a Fairchild which, naturally rolls off a good deal of High-end… With the MDE’s the Highs stay nice and clear, really fat with a really creamy midrange, and you can push it really hard. Farther than most compressors can go. Like other high-end vari-mu compressors in the same price range, you’re able to push it up to 3 or 4 Dbs which is typically absurd for mastering and it still sounds really good…

So, after I’ve done all my compression work with the Weiss DS1, and I’m still looking for some vibe, some analog magic, this is what I turn to! The Magic Death Eyes are really hi-fidelity and seem to always enhance the material in all the right places.

Wrlds2ndBstGeoshredr

@McD said:

@Wrlds2ndBstGeoshredr said:

@raabje said:
I am still choosing which one to buy, the stereo one or the other one. Both is a bit too much at the moment.

Main purpose would be put it first on my incoming guitar signal in AUM.

Any advice? I found and read some topics about it, but some help would be nice.

If input is mono, get the mono version. I have both and use the mono more than I do the stereo.

Actually, they both process stereo signals but there is a difference… a reviewer in “Sound on Sound” explains:

The Magic Death Eyes are just “Kick-Ass” Compressors!

It’s the only processing in my signal chain that has Tubes and transformers in it… Out of everything! So, if, I’m going to add any sort of coloration, or vibe to the sound, it’s going to come from these!

So the story behind these is that Ian Sefchick, who works at Capitol Mastering, has been building boutique gear for in-house use at Capitol Studios for a very long time… ( If you happen to be in their studios and you see a compressor with a big Capitol logo on them, it's one of his). The Magic Death Eyes are the next evolution of his compressor design, which is a classic tube vari-mu circuit. The key to these are the transformers, which are not only his own designs but are hand wound by himself. He actually uses the same winding machines that companies used to use back in the day when making the original transformers for magical pieces of gear like Pultec and Fairchild… (Extremely time-consuming) So, what you get is just a really unique transformer tone that you won't ever get out of any piece of gear you buy on the mainstream market today!

Just like any other tube processor, when you push the gain, you generate pleasing harmonic distortion/saturation (Which is a technique that I use a lot), but the difference with the MDE's, and what really sets them apart from other vari mu’s like a Fairchild 670 (What you would consider the king of all vari-mu processors) is that the Magic Death Eyes are very linear across the frequency spectrum. When you compare it with a lot of other tube compressors when you start cranking them up, (Where the low-end gets really woolly and there is a very unnatural boost occurring) with the MDE’s the low-end extension stays true to the source. These guys will handle any Bass super heavy material without a glitch… The difference also with a lot of the old classics is that the reaction time is a lot faster, which makes them able to handle very transient heavy stuff as well as fast percussive, extremely well!

Another thing worth mentioning is that these are less than 90 dB noise floor which makes them extremely quiet comparing to a lot of other vari-mu designs.

The Magic death Eye also doubles has a kick ass tube amp which I use it for all the time, Even when the threshold is all the way down, you still get a bit of squeezing to the material, especially when you start pushing the amp.

This box really keeps the essence and the integrity of the material intact. For example, if you compare it to a Fairchild which, naturally rolls off a good deal of High-end… With the MDE’s the Highs stay nice and clear, really fat with a really creamy midrange, and you can push it really hard. Farther than most compressors can go. Like other high-end vari-mu compressors in the same price range, you’re able to push it up to 3 or 4 Dbs which is typically absurd for mastering and it still sounds really good…

So, after I’ve done all my compression work with the Weiss DS1, and I’m still looking for some vibe, some analog magic, this is what I turn to! The Magic Death Eyes are really hi-fidelity and seem to always enhance the material in all the right places.

Thanks very interesting.