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4. Master bus multiband compression with Violet CM

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Let’s use Violet CM to demonstrate how to set up a multiband compressor when mastering. Drop a stereo premaster file on a track in your DAW, duplicate the channel, then mute the first channel. We can now easily A/B between the raw and processed versions. We’ll add Violet CM ZL – the zero latency version of the plugin – on the duplicate channel. 2

In our track, the snare is sitting a bit too far above the music and vocals, so let’s compress the Mid band and rein it in. Mute Violet CM’s Low and High bands to focus on the midrange, then adjust the X-Over Low and High dials until the snare is most prominent – we’ve gone for 150Hz and 4kHz in this scenario. 3

After unmuting the Low and High bands, we set the mid band’s Threshold to around -36dB. An Attack value of 2 catches more of the loud snare hit, while a Release of 3 releases gain reduction more promptly for a musical sound. Around 2dB of Make Up gain now brings the band’s level back up. 4

To hear the difference our compression has made, A/B between the raw and processed mixes. You’ll hear that the midrange detail is now enhanced in our processed version, with the music and vocal taking more prominence. Next, we’ll embellish and smoothen the track’s sub bass frequencies – start by setting the Low band’s Attack to 1 and Release to 4. 5

A Threshold setting of around -30dB trips gain reduction. Our fast Attack and relatively slow Release times cause the compressor to clamp down on the track’s kick drum, enhancing low-end sustain. 2dB of Make Up gain brings up the band’s level post-gain reduction, giving the entire mix the kind of solid low end you’d expect from a dub reggae track.